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Class. 
Book. 



1 



AN 

ANGLICAN STUDY 

IN 

CHRISTIAN SYMBOLISM. 



'Tbe door step to the temple of Wisdom 

is a knowledge of our own ignorance. 



BY 

(MISS) ELIZABETH CLIFFORD NEFF, 
Cleveland, Ohio. 

1898. 



THE HELMAN-TAYLOR CO., 

Publishers. 







24090 



Copyright, 

(MISS) ELIZABETH CLIFFORD NEFF, 

Cleveland, O. 

1898. 

TWO COPIES RCC-!IVEO. 






j^\ 









AN 
ANGLICAN STUDY 

IN 

CHRISTIAN SYMBOLISM, 

Consisting of ten chapters, 

Introductory. 

Symbolism of Form. 

Symbolism qf Form, continued. 

Symbolism of Color. 

Symbolism of Numbers. 

Symbolism of Language. 

Symbolism of Action. 

Vestments. 

Needleworker, and Embroidery. 

Summary. 



PREFACE. 

As President of the * 'Class in Ecclesiastical Embroidery, of 
the Diocese of Ohio," two duties became manifest. 

The first to become, as near as possible, master of the needle 
as applied to the execution of Church Embroidery. To accom- 
plish this, it was the sacred privilege of the President, and com- 
piler of these lectures, to study with the All Saint Sisters, as an 
inmate of their **Home" in Baltimore. Their loving influence 
and interest seems none the less abated, and constantly com- 
munications are exchanged, which aid materially in the work 
here in Ohio. 

The second duty self-imposed, by the President, was to 
study carefully all records accessible, bearing upon Symbolism, 
Vestments, and Embroidery. 

The Symbols, as signs to teach a sacred truth. 

The Vestments, as symbolic in themselves, and bearing upon 
them the greater and more significant symbols. 

The Embroidery, as the art, or means of executing the sym- 
bols for the vestments. 

The lectures which follow are the result of that study. 

As every student in any line must necessarily feel that the 
work already done, is not complete ; so the writer sends forth 
these incomplete notes, hoping that they may prove an incentive 
to some one to carry forth the work to a degree of perfection 
and clearness not before attained. 

President of the Class in Ecclesiastical Embroidery, 

of the Diocese of Ohio. 
Cleveland, O., December, 1898. 




INTRODUCTION. 

There is a felt need of a suitable hand-book for American 
Church men and Church women dealing with the historical and 
practical features of ecclesiastical embroidery and needlework. 
The English manuals are often too expensive, while in thifr 
country very little has hitherto been published for the guidance 
of altar societies and church guilds in this department of duty. 

This volume, now presented to the Church public, is not 
theoretical, but is the result of much study and investigation, 
and the outcome of several years of actual application. The 
authoress has not only read deeply, but she has most successfully 
guided a large Diocesan class of devout women who are skilled 
in ecclesiastical needlework. 

Such a volume as this should be in the parish library of 
every church ; in the hands of sisterhoods ; and within the reach 
of all parochial societies whose duty it is to make the sanctuary- 
beautiful. 



^,^, /Ci^in.c^a>,^^ 




CONTENTS. 



CHAPTER I. 

Introductory. — Explanation of the Title — Defining the Terms 
Eastern and Western Church — The Greek, Roman and 
Anglican Churches — Orthodox and Unorthodox Eastern 
Churches — Reference to the Armenian Church — Five Modes 
of Symbolism — Symbolism as Shown in the '* Bow of 
Promise" — Definition of Terms, Symbol, Emblem, Figure 
and Type — Adoption of the Term Super-Symbol— Explana- 
tion of the Term Super-Symbol Pages 1-13 

CHAPTER II. 

Symbolism of Form. — Division of the Subject Repeated — Sym- 
bols Referring to the First Person of the Trinity — Reference 
to the Catacombs — Symbols Referring to the Second Person 
of the Trinity— The Cross, the Tau, Latin, Greek— The Chi 
Rho — The Sacred Monogram — Other Forms of the Cross — 
"The Womanly Art," Embroidery Pages 14-38 

CHAPTER III. 

Symbolism of Form, Continued. — Symbols Referring to the 
Second Person of the Trinity — Symbol of the Lamb — Agnus 
Dei— Alpha Omega— The Lion— The Eagle— The Good 
Shepherd — The Fish — Vesica Piscis — Symbols Referring 
to the Third Person of the Trinity — The Dove — Symbols 
Representing the Trinity — "Trine Compass" — The Nim- 
bus— Lamps— "The Eventide Hymn." Pages 39-62 

CHAPTER IV. 

Symbolism of Color — Definitions as to the Meaning of the 
DiflFerent Colors — Brief Reference to the Colors as Used in 
the Greek and Armenian Churches — Difficulty of Compar- 
ing Modern Shades With the Ancient — Colors Used by the 
Anglican Church — The *' Sarum Use" — "Comparative 
Table of Liturgical Colours" — "Table of Colours Accord- 
ing to the * Sarum Use.' " Pages 63-89 

CHAPTER V. 

Symbolism of Numbers. — Reference to the Ancient Fathers — 
Modern Description of the "Mystic Properties of Numbers" 
— Particular Reference to the Numbers 3, 5, 7, 8, 12 and 40 — 
Mention of Other Numbers and Their Significance. . .Pages 90-111 



CONTENTS. 

CHAPTER VI. 

Symbolism of Language. — As Used bj "Savage and Semi-Civil- 
ized Peoples" — The Creed— The "Names, Titles and Offices 
of Christ" — Amen Pages 112-118 

CHAPTER VII. 

Symbolism of Action. — Kneeling — Standing — Signing With the 
Cross — Bowing at the Name of Jesus — The Holy Eucharist — 
Flowers Used Symbolically — List of Flowers for Altar Use. 
Pages 119-145 

CHAPTER VIII. 

Vestments — "Birth of the Church" — Vestments of the Early 
Christian Centuries — "Vestments Mentioned in the Ra- 
tional" — Eucharistic Vestments First Ordered — The Amice, 
Alb, Girdle, Stole, Chasuble, Maniple, Dalmatic and Tunic 
— Surplice — Cotta — Chimere — Rochet— Cassock — Pallium — 
Cope — Morse — Altar Coverings Pages 146-189 

CHAPTER IX. 

The Needleworker, and Embroidery. — Bible Reference — 
"Ancient Phrygian and Lydian People Regarded as Invent- 
ors of Embroidery" — Anglo-Saxon Embroidery — "Opus 
Anglicanum, or Anglicum" — Monastery of "Syon" — Is 
Anglo-Saxon Skill in Embroidery Inherited ? — Division of 
Embroidery into Periods — Modern List of Stitches — The 
American Mode of Executing Church Embroidery — Not 
Necessarily Within the Cloister Pages 190-232 

CHAPTER X. 

Summary Pages, 233-235 

ADDENDUM. 
INDEX. 



INTRODUCTORY. 

Ckapier I. 

Explanation of the Title — Defining the Terms Eastern 
and Western Church — The Greek, Roman and Anglican 
Churches — Orthodox and Unorthodox Eastern Churches 
— Reference to the Armenian Church — Five Modes of 
Svmbolism — Symbolism as Shown in the "Bow of Prom- 
ise" — Definition of Terms, Symbol, Emblem, Figure and 
Type — Adoption of the Term Super-Symbol — Explana- 
tion of the Term Super-Symbol. 

The • title to this series of papers may be 
briefly explained by stating that similar series 
might be prepared with the term Roman, or 
Greek, in place of Anglican, as here used. 

The better to understand the term Anglican, 
it will be well to summarize what is said regard- 
ing the Churches. Few pause to consider, that 
though the seven churches addressed by St. 
John in that wonderful book of Revelation 
have ceased to exist, yet to this day can be 
enumerated seven churches. 

The general terms Eastern and Western 
Church, are used, it is feared, far too often in 
a vague, uncertain sense. 

"One can hardly speak of an Eastern or 
Western Church as existing as such before the 
founding of Constantinople, and the division of 
the Roman Empire into Eastern and Western, The church cycio- 
which soon followed thereupon." The date pzedia, p. 239, by Rev 
referred to is undoubtedly A. D. 364. a. a. Benton, m. a. 



2 An Anglican Study 

N. B. — Constantinople was so named in honor 

of Constantine, 330 A. Z>. , who had made it the 

c Tj A -, T^- ^- -^^^ of p;overn7nent in 328 A. D., when it was 

bee Haydn's Diction- 77 ? ^ • rr^y -r^ 

ary of Dates. Called ByzantiufH. The Eastern and Western 

Empire had been created by Diocletian. A. D. 
296; they were reunited by Constans^ 3J/.0 A. D,; 
again divided by Valentinian and Valens^ 364 
A. jD., Valentinian having Rofne^ Valens Con- 
stantinople. 

This shows that the name impHes a distinc- 
tion as to territory rather than doctrine. 

Our own AngHcan Church will be mentioned 
last in the enumeration that follows, for the 
reason that it is the symbolism of the Anglican 
Church which these papers are to consider. 
After this brief preliminary is over, investiga- 
tion will pass on to the consideration alone of 
what is the heritage in Symbolism of the Angli- 
can Church. Emphasis must be put upon the fact 
that though the Anglican Church is in the 
West, it is not a part of what is known as the 
Western Church ; that term refers alone to the 
Roman Church. 

The names of the seven Churches are as 
follows: 

1. The Holy Orthodox Eastern Church, 

which consists of ten Independent 
Churches. 

2. The Armenian, termed Unorthodox. 

3. The Syrian, termed Unorthodox. 

4. The Coptic, termed Unorthodox. 

5. The Assyrian, termed Unorthodox. 

(Nestorian). 

6. The Western Church, Rome and her 

different Sees. 

7. The Anglican Church, The Church of 

England and her Colonies, and the 
American Church. 
"The Holy Orthodox Eastern Churches," 
when taken collectively, are commonly desig- 



In Christian Symbolism. 3 

nated as "The Eastern Church," "The Orien- The church cycio- 
tal Church, " " The Greek Church. ' ' p^'I'*' p- 23fi- 

Which at once creates a confusion in the 
mind of those not carefully considering the 
matter, and under these three terms imagine 
that all the Eastern Churches, whether ortho- 
dox or not, are included ; not so ; these terms, 
"The Eastern Church, The Oriental, and the 
Greek Church," apply only to the Orthodox 
Eastern Churches. 

The Holy Orthodox Eastern Church consists 
of ten independent Churches, viz : 

Constantinople, 

Alexandria, 

Antioch, 

Jerusalem, 
Churches of Russia, 
' Cyprus, 
■' Austro-Hungary, 
' Montenegro, 
' Greece, 
' Servia. 

The Churches of Roumania and Bulgaria, ^j^^ Church cycio- 
claiming "an autonomy" not yet conceded, paedm, by Benton, p. 
Which is the right of self-government. 240. 

The orthodox outnumber the others ten to 
one; their claim to orthodoxy is "that they 
have carefully held to the doctrines set forth J,^" Tj'nt^J"''" 

. •/ . paedia, by Benton, p. 

m the undisputed General Councils. 289. 



Unorthodox, Armenian, 
Syrian, 
Coptic, 



Assyrian (Nestorian). 245 

At the present time (December 1896) all 
Christians are directed in prayer and sympathy 
for the Armenian Christians who are suffering 
so greatly, and it seems strange indeed to find 



The Church Cyclo- 
paedia, by Benton, p. 



4: An Anglican Study 

them classed among the unorthodox Eastern 
Churches. Why have these churches been 
called heretical? "They have been accounted 
heretical in regard to so important a matter as 
the Incarnation of our Blessed Lord. The 
first three of these churches reject the Council 
of Chalcedon, in which was condemned the 
error of those who confounded in Christ's Per- 
son those natures which they should have dis- 
tinguished. The Assyrian Church has refused 
to accept the Council of Ephesus, condemning 
the error of dividing Christ into two persons. 
But although these churches have erred in not 
acknowledging Councils owned as General by 
the Church Catholic, it is not certain that in 
the case of any one of them is there a real de- 
parture from the faith as set forth in those 
Councils. * * * The Armenian Church is the 
largest and most important of these churches 
at this time. When the Council of Chalcedon 
met, in 451 A. D., the Armenians, being at 
war with the Persians and hard pressed by 
them, were not represented at the council. 
The reports of what was done at Chalcedon 
were either erroneous in themselves, or were 
misunderstood by them, and so the Armenian 
Church denounced the Council of Chalcedon, 
while, as there is good reason for saying, hold- 
ing substantially the Faith as there established. 
Time and again has it seemed that the division 
between the Eastern Orthodox and the Arme- 
nians was on the point of being healed, but 
political or race feeling has thus far always 
prevented. A well informed theologian of the 
Russian Church states that 'it is quite certain 
that the Armenian Church separated from the 
Church Catholic, in the fifth century, in con- 
sequence of a misunderstanding, and that it is 
quite orthodox in the faith. * * * If a 
union is possible between any two churches, it 



In Christian Symbolism. 5 

is between the Eastern Orthodox and the 

Armenian, since they are only kept apart by J^^^^ ^y^Bentonf p" 

external circumstances. ' " 245. 

Orthodox and Unorthodox Eastern Churches 
having been referred to, the Church of Rome 
needing no comment here, and the fact of the 
Historic Episcopate of the Anglican Church 
being without doubt, the heritage fully under- 
stood by her faithful children, the question of 
Symbolism, as pertaining to her ritual, will 
now be considered. 

What increased privilege can there be in 
living in this latter part of the nineteenth 
century, unless by retrospect advantage be 
taken, to bring forward what in the past was 
valuable, and sift out the dross? 

Peculiarly is this true of Christian Symbol- 
ism. Time was when the masses of the people, 
unable to read, were instructed by pictures. 

No wonder then that color and form took on 
new meaning, and were added to till emblem 
and symbol became shrouded in a mantle so 
heavy, that the prime motive and beautiful 
symbol was lost; when this was reached, the 
overruling hand of Providence came in, and lo! 
printing, the hand-maid of a deeper revolution, 
brought about the change that unlocked the 
doors of ignorance, doing away with that stage 
of Sym.bolism that had rendered it a necessity. 
Fairholt, in his "Dictionary of Terms of Art" 
states that Symbolism flourished and became 
overloaded, so as to lose its significance in the 
Middle Ages. In the sixteenth century many 
books were popular on the subject, which 
"ransacked everything in nature." But is all 
symbolism now lost? or would it be well that it 
should be lost? Back of all, beyond the period 
of the Dark Ages, and as early as man is found, 
the law and manifestations of symbolism ex- 
isted. To the remotest ages yet unborn sym- 



6 An Anglican Study 

bolism will go down as one of those instincts, 
it might be said, of Nature. 

Point out, if you can, a single people or tribe 
anywhere, to whom symbolism in some form is 
unknown. To the Christian there is a signifi- 
cance that ripens with time. A study of its 
history reveals the possible errors, and leaves 
the thoughtful student confronted with facts, 
that, viewed in the light of its past usefulness 
and failures, should develope a system guarded 
on the one hand against extreme, yet on the 
other, eager to perpetuate this handmaid of 
Christianity. 

In the light of some of these facts, the follow- 
ing pages are penned, with the hope that to 
many it may be an opening glance that shall 
enable them to find a deeper meaning in what 
has not been heretofore discerned; and the 
whole lead to the Cross as the Symbol of our 
Faith in "Him in whom we live and move and 
have our being." 

A Christian Symbol may be defined as a sign 
representing a spiritual idea, or truth. 

One writer states it, "A symbol is an ex- 
christian iconogra- tcHor f ormula, the representation of some 
^\l\\^ u^ ^''^'°°' dogma of religious belief ; it is like the dogma 
° ■ ' ^' * itself, an article of faith. ' ' 

It is well known that symbolism is found 
among all peoples, yet it has been erroneously 
stated, that its origin was Pagan. The history 
that struggles to prove its line of descent, is 
one of romantic interest. There is another 
side to the subject, caviar to the public, and 
which links it back to creation : 

When God said "let there be light." 

Is not God said to be light, and is not light 
the sum of all color? Therefore light, with its 
wealth of prismatic color, is a symbol of God. 

Symbolism has survived the ages of darkness 
and superstition, and, purified, accompanies 



In Christian Symbolism. 7 

Christianity; a present system, of no mean 
significance, which should be dwelt upon with 
careful study. 

Writers state a five-fold mode of Symbolism, 
viz: 

That of Form, 
That of Color, 
That of Number, 
That of Language, 
That of Action. 

It is essential to bear this division of the sub- 
ject clearly in mind, and observe the various 
examples under each. 

In the book of Genesis symbolism is used. 
When God made His covenant with Noah, He 
placed in the Heavens a Bow; surely a symbol 
of form, in its graceful arch ; and what more 
beautiful than its appearance in the heavens 
to-day reminding of His promise. 

He gave to the bow color. To the unculti- 
vated eye the charm of color is not lost, but to 
the scientist it has manifold beauties revealed 
by earnest investigation. 

God's covenant was the Language. Thus to 
Form and Color God added His word. 

The appearing of the bow was action. All 
great action is not tumultuous, yet the most 
trifling necessitates the displacement of some 
atoms, and adjustment of others ; so the bow 
m the heavens displayed God's action, even if 
the law of refraction, ordained long before, was 
followed. In this bow of seven colors, Nufnher 
was represented. Thus in the first book of 
God's word is found this beautiful symbol of 
promise displaying all Five Modes of Symbol- 
ism. Again, in Revelation, the rain-bow is 
spoken of as being "round about the throne," 
Bishop Huntington thus beautifully refers to 
the throne and the rain-bow, as seen by the 



8 An Anglican Study 

Evangelist in Revelation, which gives addi- 
tional symbolic significance to its presence 
there; he says, "A rain-bow without the throne 
would have been a spectacle to be admired. A 
throne without the rain-bow would have meant 
Forty Days with the sovereignty without mercy, law without grace, 
Master, by Bishop a wild and stormy splendor without the promise 
Huntington. ^nd pledge of peace. ' ' 

These references suffice to show that the be- 
ginning and end of the Word are marked by 
Symbolism, and the many examples throughout 
Holy Writ may be referred to as they are sug- 
gested, in the consideration of the subdivisions 
of the subject. 

To many Form is the most suggestive mode 
of Symbolism. 

To the Christian what form presents itself as 
the best type to be named here? Truly the 
Cross, termed the "Supreme symbol." 

It is well to pause and consider carefully 
what the difference would seem to be, between 
an emblem and a symbol. 

Symbol, Emblem, Figure, and Type, are 
given as synonymous, but has there not grovrn 
up, in symbolism of form, at least, a distinc- 
tion that must be recognized? This, the 
"Supreme symbol," the Cross, suggests at 
once the one sacrifice made for all by the God- 
man, Christ jesus. It was not till the sixth 

by^r^L^Cut'ts,''D^D;c^^t^^y ^^^^ "^^^^ changc crept in, of represent- 
p. 3.^. ' ' " "'ing the suffering Saviour on the Cross; that 
v/as never necessary, the completed and triumph- 
ant death and resurrection, are the better 
portrayed, as has been aptly said, in the 
"empty cross." Undoubtedly the cross is a 
symbol, at once telling of Christ's death, and 
all other ideas concerning it as a mode of 
punishment are lost sight of. Take the Fish, 
which is an emblem of Christ, and it is found 
that its significance as such is no^ at once 



In Christian Symbolism. 9 

recognized; for it has been used in the early 
days of the church to portray other ideas, such 
as disciples as fishers of men, and is found in 
the Catacombs bearing reference to the fol- 
lowers of Christ receiving baptism. "Tertullian 
says, we are born in the water like the fish;" symbolism in chris- 
and Clement speaks of Christ as "drawing fish tian Art, iiuime, p. 
out of the waters of sin." ^^^• 

Therefore the Fish as an em.blem of our 
Lord, was also used as a symbol of believers, 
and it is a singular fact, that the Greek Church 
never adopted it as a Symbol of Christ, though 
the ingenious discovery that caused the Western 
Church to adopt it as such, was based upon the 
Greek word for fish, containing the initial 
letters "of Jesus Christ, the son of God, the ^i^^"'^^°j.|^'^^'Jj^g"p' 
Saviour." 203. 

It is also associated with the legends of many 
saints; hence a distinction unavoidably arises 
between a symbol of Form, and the other 
synonymous terms of Emblem, Figure and 
Type. 

To quote from an eminent authority, the fol- 
lowing will help to make plain a distinction that 
seems to require a term to express. 

"The figure is not imposed by sacred dogmas, 
or by the revealed word; but results simply 
from the free operation of the human mind. 
The figure is a variable creation of the imagina- 
tion. We are required to receive a symbol, 
but may be persuaded to admit a figure ; the 
first demands our faith, the second fascinates , 
the mind. Christ is symbolized by a Lion, and 
still more appropriately by a Lamb ; but he is 
merely figured by a Pelican. * * * Still 
the Pelican never has a nimbus, still less would 
It have a cruciform nimbus; * * * The 
Lamb, on the contrary, wearing a nimbus 
divided by a cross, is constantly depicted in 
scenes both from the Apocalypse, and the 



10 An Anglican Study 

Christian iconogra- Gospcls ; he is, indeed, Christ himself, under 
phy, by Didron, p. 343, ^he f orm and appearance of a Lamb. ' ' 

A subsequent paper in this series will show 
how far this symbolism of Christ by the Lamb 
was carried, which required the action of a 
council to restrain. 

A Symbol of Form is necessarily a figure, 
type or emblem, limited in its application to 
one idea; but all emblems, types and figures 
are not limited to one idea, and are therefore 
not Symbols as here defined. This distinction 
it does not seem possible to continue, when 
considering the four other modes of symbolism, 
being those of Color, Language, Number and 
Action. 

There is therefore developed a significance in 
certain Symbols of Form, for which, to give 
them distinction, may be adopted the term 
Super Symbol. That is, any symbol that is 
capable of but one interpretation and applica- 
tion, may be called a Super Symbol ; as 

The Cross, 

The Agnus Dei, 

The Sacred Monogram. 

In the Dictionary of Terms in Art" by Fafr- 
holt, the following quotation is found taken 
from "Symbols and Emblems of Early and 
Mediaeval Christian Art," by Mrs. Twining. 
"The words symbol and emblem are often used 
indifferently to express the same meaning, but 
it should be observed that the term symbol 
may sometimes be used for an emblem where 
the contrary would not be true; as, for in- 
stance, the anchor may be either the symbol or 
emblem of hope ; but we could not say that the 
Lamb or the Good Shepherd was an emblem of 
Christ, since he himself is embodied in or repre- 
sented by them ; they must therefore be dis- 
tinguished as symbols^ and this term may then 



In Christian Symbolism. 11 

be considered as something expressive of the 
whole being and character rather than any 
particular attribute or quality of the person or 
thing represented. The same object, however, 
may be clearly considered a symbol as well as 
an emblem; as the sword is the symbol of 
martyrdom, and the peculiar emblem of St. 
Paul." 

The several quotations made which 
strengthen the idea of a difference between a 
Symbol and the terms emblem, figure and type, 
while they show conclusively that such distinc- 
tion is realized by students of the subject, yet 
leaves to the mind of the reader a confusion of 
ideas ; to meet this want, and supply the press- 
ing need for a definite term, this one of Super 
Symbol is here adopted, which, with its defini- 
tion, viz: 

Super Symbol : A symbol that is capable of 
but one interpretation; it is hoped will meet 
the requirements of directness for a more 
definite study of the subject. 

A full list of the different forms of expression 
under this head, symbol, can hardly be given 
here, but a few of those most familiar may be 
mentioned, and the reader, from the foregoing 
analysis, can decide between Symbols and 
Super Symbols. 

The "Supreme Symbol," 

The Sacred Monogram, 

The Triangle, 

The Dove, 

The Agnus Dei, 

Alpha and Omega, 

Eagle, 

Lion. 
Before considering more carefully one or two 
of these Symbols of Form more minutely, as 
they may prove to be Symbols or Super Sym- 
bols, it would be well to note the following list 



12 An Anglican Study 

of expunged symbols, that errors of the Dark 
Ages may be avoided in the modern use of 
symbolism. 

Prior to the Reformation many symbols 
called "Passion Symbols" were used, found 
depicted in stained glass or carved wood chiefly 
in the fifteenth century, though some examples 
were found as early as the tenth century, which 
at the time of the Reformation were banished 
as being of "superstitious tendency. " This list 
is included, but probably did not comprise the 
entire number of symbols so condemned. 

"The Ladder. The Dice. Seamless Robe. 

The Cock. Spear. Sword. The Thirty Pieces 

of Silver. Pincers. Hammer. Pillar. Scourge. 

Symbolism in Chris- Rccd and Spongc. Thc Nails, and Crown of 

ian Art, Hulme, p. 88. ThomS. 

The Chalice, however, and the crown of 

thorns are of the "Passion Symbols" retained 

Symbolism in Chris- and uscd to "the exclusion of all the other 

ian Art, Hulme, p. 91. PaSSioU Symbols. " 

These "Instruments of the Passion," as they 
Q K^i r.A 17 were called, and a few others, viz: the Lan- 

bymbols and Jim- - ' _ - ^ , ' ., , . 

biems of Christian Art, tern, Pursc, Head of Judas, and the Pitcher 
by L. Twining, p. 43. and Towcl, are found represented frequently 
s mbois and Em- ^^^^^^ ^^^ pcriod of Mediaeval Art, chiefly in 
biemTof'chris'tianATt, the fifteenth century, though there is an ex- 
by L. Twining, p. 44. ample of them found in the tenth century. 
The Cross is, of course, classed with the 
"Passion Symbols," heading the list, but its 
supremacy over all other symbols has been so 
clearly shown, rendering it not only a Super 
Symbol, but also the "Supreme Symbol," that 
its association with the "Passion Symbols" is 
forgotten. With these facts before the 
student, a careful avoidance of the use of these 
condemned symbols by the church, lest a re- 
turn be made to those errors that crept in with 
the Dark Ages, will seem desirable without 
further comment. 



In Christian Symbolism. 13 

Symbolism is, in an inferior sense, ornamenta- 
tion, Pugin thus speaks of ornament. "Every 
ornament, to serve the name, must possess an 
appropriate meaning"^ and be introduced with Pugin's Glossary of 
an intelligent picrpose, and on reasonable^^^^^-^'^^^^-^^^ Orna- 
grounds. The symbolical associations of each J^'^'^^"/^^'"'^^^^^^^ 
ornament must be understood and considered ; Rev. Bernard smith, 
otherwise things beautiful in themselves will be m. a., p. i of imro. 
rendered absurd by their application. auction. 

In this volume on Ecclesiastical Ornament 
and Costume, Pugin seems to argue for a re- 
turn by the church to the symbolism and vest- 
ments of the Middle Ages. 

Please bear in mind, that the burden of these 
papers is to urge the return to the earlier forms 
of Symbolism and Vestments, that in the Chris- 
tian Church antedate the Middle Ages, believ- 
ing that the earlier Christians had a purer idea - 
of symbols, and the vestments were more 
clearly typical. 



SYMBOLISM OF FORM. 

Chapter II. 

Division of the Subject Repeated— Symbols Referring 
to the First Person of the Trinity— Reference to the 
Catacombs— Symbols Referring to the Second Person 
of the Trinity— The Cross, the Tau, Latin, Greek— The 
Chi Rho— The Sacred Monogram— Other Forms of the 
Cross— "The Womanly Art," Embroidery. 

The former or introductory paper on this 
subject of Symbolism, brought before the 
reader the five-fold division under which sym- 
bolism has been treated by writers who have 
given time to the consideration of the matter. 
To emphasize this division, it is again enumer- 
ated, viz: 

Symbolism of Form, 
Symbolism of Color, 
Symbolism of Number, 
Symbolism of Language, 
Symbolism of Action. 
This paper will be devoted to the first ex- 
pression, that of Symbolism of Form, or shape. 
Pugin classifies symbols in the followmg 
manner, enumerating a large list under most 
of the heads. 

"Symbols Artificial (such as The Cross, 

Anchor, Keys, etc.) 
Symbols Celestial (such as Angels, Dove, 

Lamb, etc.) 
Symbols Geometrical (such as Divisions of 
lines, etc.) 



In Christian Symbolism. 15 

Symbols Grotesque (such as Half-man, Glossary of Eccie- 

T~ralf beast^ siasticalOmamentand 

Symbols Terrestrial (the latter subdivided ^---^l^. ^^t',- 
into animal and vegetable)." ume. 

This is well for a general catalogue, but 
these papers are intended to bring out the 
points most essential, or direct the lines for the 
study of the proper use of symbols to-day, as 
viewed in the light of past centuries, and tJhere- 
fore this list is referred to, but not followed. 

There may be enumerated a few symbols the 
most familiar, but by no means all that might 
be classed under Symbolism of Form. 

As a symbol is discussed, it is hoped that the 
distinction referred to in the foregoing paper 
will be apparent, which suggests a difference 
arising in regard to certain Symbols of Form, 
that causes them to become of greater import- 
ance than others. To meet this distinction the 
term Super-Symbol was chosen. 

The symbols that refer to the Persons of the 
Trinity, are the fundamental ones for any 
study of Christian Symbolism. 

To the first Person of the Trinity, therefore, 
as represented by symbols, the attention of 
this paper will be at first directed. 

That only one or two representations of the 
first Person of the Trinity were recognized in 
the early Christian centuries, leads the student 
of to-day, with the Bible in hand, to carefully 
consider why such representations are found, 
and only such. 

The command of God, as given in the second 
article of Decalogue, surely to this day controls 
the use of symbols, to represent the Creator, 
and Father of all. 

It is stated that "Theophilus, Bishop of 
Antioch, who flourished in the second century, 
was the first who used the word Trinity to ex- symbolism in chris- 
press the three sacred Persons in the Godhead. " tian An, iiuime, p. so. 



\ 



16 An Anglican Study 

The doctrine, of course, is contained in -script- 
ure, and St. John clearly sets forth the Old 
Testament manifestation, when he says "In 
the beginning was the word, and the word was 
with God, and the word was God. ' ' As has been 
before referred to, God is light, so St. John 
further states, "the light shineth in darkness." 
Was not the third Person of the glorious Trin- 
ity the light of God spoken of in the Old Testa- 
ment, the "shekinah" that went with the 
Israelites? It is not intended to take up doc- 
trinal points in these papers, but accept the 
teachings of the Church, and apply Symbolism 
to the better understanding, if possible, of 
both doctrine and symbol. 

Thus connected, the New Testament declara- 
tions regarding the Trinity with the Old Testa- 
ment implied allusions to the same ; the sym- 
bolic use of the same representations for God 
the Creator and Maker in the Old Testament, 
Y\'ith the first Person of the glorious Trinity in 
the New Testament, will not seem strange. 

What were the early symbols used? 

The Hand, or Hands, frequently emerging 
from the clouds, have been the usual forms, 
though the eye has also been used ; for both of 
which symbols references are found in the Old 
Testament, as, "Thy hands have made me, and 
Psalms n9:73. fashioncd mc. " 

"Thou openest thy hand, they are filled with 

Psalms 104:28. gOOd. " 

"Thou openest thy hand and satisfiest the 
Psalms 145:16. dcsirc of cvcry living thing." 

"The eyes of the Lord are upon the 

Psalms 34:15. rightCOUS. " 

..^ ^ , , „ It was not until the twelfth century that the 

"Symbols and Em- . , ^■' 

biems of Christian portrayal of more of a human figure was 
Art,"i.. Twining, p. 2. adopted to rcprcscnt the Father. 

This error, for so it must seem to have been 
in the light of scripture, occurred during the 



In Christian Symbolism. 17 

"Dark Ages" ; and as Christianity has emerged 
from the gross darkness that in that period 
encompassed it, symbolism of to-day should 
carefully abstain from a return to such errors. 
It is points like this one, that makes the study 
of Christian Symbolism one that cannot be 
dwelt upon lightly. In every line of thought 
and work in life, it is clearly demonstrated, 
that a little learning is dangerous. In the 
earliest representations of the "Hand" as a 
symbol of the Father, it is found without the symbols and Em- 
Nimbus; this is accounted for by the fact that biems of christian 
the Nimbus was not introduced into Christian ^'■*' ^^ ^- Twining 
Art, until the latter part of the fourth or earlier ^' ^^^' 
part of the fifth century. The Nimbus is used 
to express sanctity, and its various designs will 
be noted subsequently. It may be designated 
as a halo, expressed by a circle surrounding the 
head, or upper part of an object. The Nimbus 
is rarely, or never, found in the Catacombs. 
This statement leads to the question when and 
how the Catacombs were used. For detailed 
account reference should be made to writings 
on the subject, a few salient points must be 
noted here; first, that to the Catacombs the 
student of Christian Art which embraces sym- 
bolism, must go for the Art History of the first 
few centuries. These Catacombs used by the 
early Christians had interred within them the 
remains of those who died believing in Christ; 
the slabs that mark their resting place were 
inscribed with some symbol of the Christian 
faith, designating, some times, what had been 
the occupation of the one interred, also the 
fact, if such was the case, that the believer had 
suffered martyrdom. The next question there- 
fore is, when were these Catacombs so used? 
It is stated that for three centuries they were 
used, the first inscription being dated A. D. 72, 
the latest 410 A. D., which explains why so 



18 An Anglican Study 

few representations of the Nimbus are found 
therein. In the Catacombs of Rome, by con- 
jecture it is supposed there were some seven 
million graves, and there was a combined 
length of some five hundred miles. The pass- 
ages being seven or eight feet high, and about 
three feet wide. Though the inscriptions 
ceased 410 A. D,, and it may be inferred that 
the interments ceased at the same time, yet the 
Catacombs continued to be known, and bodies 
were abstracted for churches as relics until 
1220 A. D., when they seem to have been 
absolutely forgotten, until their rediscovery by 
a vine dresser in A. D. 1478. The inscriptions 
Symbolism in Chris- on the slabs most frequent, are those referring 
tian Art, Huime, pp. to the Rcsurrcction, and representations of our 
227, 228. vSaviour as the Good Shepherd. 

Louisa Twining, in her valuable work, 
"Symbols and Emblems of Christian Art," 
refers to one symbol from the Catacombs, as 
being of later date, and mentions the tenth 
century; she does not say Catacombs of Rome, 
which she probably referred to, yet she had be- 
fore noted a symbolic design of the ninth cen- 
tury from the Catacombs of Naples. However, 
if she did refer to the Catacombs of Rome, the 
inscription might have been made by Christians 
as late as that date, as the removal of bodies 
continued until the thirteenth century, which 
botalrEmb'iemnf would not render false the statement that in- 
christian Art, pp. 19 scriptions ccascd with the fifth century, as com- 
and 27. pared with what they had been up to that date. 

To return to the symbol of the Hand to ex- 
press the Father, it is found shown with some 
traces of rays of light "expressing the divine 
beneficence shed upon the earth; it is fre- 
quently entirely open, but more often in the 
act of blessing, and then it is represented in 
two positions, called the Greek, and the Latin 
benediction ; in the first of these the middle finger 



In Christian Symbolism. 19 

is bent, and the thumb crossed upon the third 

finger, forming the first Greek letter of the name 

of Christ," * * "in the Latin form, the two 

first fingers are extended, the other two bent g . , 

inwards," the thumb takes its natural position, ^le^T Vf ^christiTa 

extended with the first two fingers. Art, l. Twining, p. 2. 

It is very evident that the Hand, as a symbol, 
is of the more definite class, having but one 
significance, that of reference to God the 
Father, which for clearer understanding will be 
termed a Super Symbol. 

Art and Christian Symbolism of to-day 
should prize these pure and early symbols of 
God the Father, and avoid those departures 
from the early purity of art that crept in dur- 
ing the Dark Ages. 

Thus briefly the subject of Symbols of God 
the Father have been reviewed, and the forms 
that refer to Christ as the second person of the 
Trinity will be next considered. 

SYMBOLS OF THE SECOND PERSON 
OF THE TRINITY. 

The first example of a Symbol of Form, re- 
ferring to Christ, that to-day suggests itself as 
being of greatest significance, is that of the 
Cross, or as it has been termed the "Supreme 
Symbol." 

What is known of the Cross? Pause and ask 
this question. 

Does it not recall the sacrifice made "once 
for all" on Calvary amidst nature's darkness? 
Truly, it is not only a Super Symbol, but the 
**Supreme Symbol." 

There have been and still are, various forms 
of the Cross, some authorities say forty-two, 
others sixty-nine; for its use in heraldry, as 
associated with the Crusades, has produced 



20 An Anglican Study 

many variations. Underlying them all is sym- 
bolized the reference to Christ crucified. 

The Latin cross seems pre-eminently sacred, 
because it is believed that it was on such a 
cross the Saviour was crucified. Palestine and 
the Jews were then under Roman law, and the 
execution of the sentence was according to the 
customs of those rulers, and the cross they 
would have used would naturally have been 
Latin, rather than Greek. 

There is a form of the cross that antedates all 
Symbolism in Chris- othcrs ; it is the Tau cross, or, as it is termed, 
tian Art, Huime, p. 75. the "Crux Ansata" (cross handled). 

This cross is said to be the cross of the Old 
Symbolism in Chris- Testament, and as such termed "the anticipa- 
tian Art, Huime, p. 74. tory , or type cross. ' ' 

Among the Egyptians this form of the Cross 
was used to represent life, and it is supposed 
that this is the sign that was made by the 
Israelites on the "Lintel," in accordance with 
God's command, to save their first born from 
destruction. It is also stated, regarding the 
Tau Cross, that it is probable, when the ser- 
pent was placed before the Israelites to look 
Dr. Rock, South ^pQj^^ ^ud bc savcd, that it was on such a 

Kensington Museum ^^^^^ -^ ^^^ elcvatcd tO their vicW. This TaU 
Textile Fabrics De- . . ^ /-\ ■, t rry 

scriptive Catalogue, p. Cross takcs its name from the Greek letter Tau 
137 of his Introduction, which in form it so closely resembles. Rev. 
Daniel Rock, D. D., states, that the first time 
this symbol is found is "in the pattern figured 
on a web of the Pharonic period" ; he argues of 
course, that to Egypt must be attributed 
the origin of this symbol. Dr. Rock goes far- 
ther, and assigns as the definite origin of this 
symbol, the use of it by the Israelites in mark- 
ing the door-posts with the blood of the lamb, 
which saved them from the visit of the destroy- 
ing angel ; that in the morning the Egyptians, 
finding the Israelites saved, attributed it to this 
mark, and therefore adopted it as a sign of life. 



In Christian Symbolism. 21 

But what was the shape of this letter Tau, at 
that date? Let Dr. Rock speak again. This 
is the form, 

See Chart No. i, Figure 6, Chart No. i, Figure 6. 

Dr. Rock, South 

the "Gammadion" (called also the "Swastica") Kensington Museum 
to which he refers and states "that the old Tau Textile Fabrics, De- 
was a cross, we are told by written authority, ^"iptive catalogue, p. 

,, ^ ' ^ i -J T -^ J 139 of Introduction. 

and learn from monumental evidence. Learned 

as he was in all the wisdom of the Egyptians, 

Moses, no doubt, wrote with the letters of their 

alphabet. Now, the oldest shape of the Tau 

in the Hebrew alphabet, and still kept up 

among the Samaritans in St. Jerome's days, 

was in the form of a cross." * Hi * 

"strengthening our idea that the lamb's blood 

had been put on the door-post in the shape of 

a cross, and that hence the old Egyptians had 

borrowed it as a spell against evil hap, and a 

symbol of a life hereafter, is^a passage set forth. Textile Fabrics in the 

first by Rufinus A. D. 397, and then by ^teu^^^rDnSoc^" 

Socrates, A. D. 440. ' ' p. 139 of introduction. 

"We know that while the old Tau kept the 
shape of a cross, it took>t least three modifica- thlsoull Kens"ngton 
tions of that form on those monuments which. Museum, by Dr. Dan- 
up to this time, have been brought to light. " iei Rock, p. 139 of in- 

Surely, with such authority, to this origin ^''°^"*^*^'°''' 
can be attributed the use of the cross to ex- 
press life. But why should Moses have chosen 
this letter unless inspired by God, if it had not 
the significance of life associated with it before? 
In thus sifting the matter, do not the facts bear 
out the statement, that all true Symbolism is 
from God? else how should a sign be thus i 

developed that should throughout all ages, and 
among all peoples, proclaim life? 

There is a third conspicuous form of the 
Cross, known as the Greek Cross. Originally 
these forms of the Latin and Greek Cross were 



22 An Anglican Study 

used by both the Eastern and Western Church, 
but later the Latin became more distinctly- 
associated with the Roman, or Western branch 
of the Church, and the Greek, with the Eastern 
or Greek Church, which is explained by Hulme 
in his "Symbolism in Christian Art" thus: 
"The Latin Cross suggests the actual form, 
while the Greek Cross is idealized ; the Romans 
being an essentially matter of fact people, and 
Symbolism in Chris- the Grccks equally essentially an artistic and 

tian Art, Hulme, p. 77. poctic raCC. ' ' 

It is not strange then to find that the Latin 
Cross is also termed The Cross of Calvtry, and 
the Passion Cross. 

The three forms so far considered are 

The Tau, 
Chart No. 1, Figure 1. See Chart No. I, Figure i. 

The Latin, 

Chart No. 1, Figure 2. See Chart No. I, Figure 2. 

The Greek, 
Chart No. 1, Figures. See Chart No. I, Figure 3. 

In the fourth century Constantine gave to 
the world that form of the cross, or more 
properly monogram, known as the "Chi Rho, 



Chart No, l,Figure4. 



See Chart No. i, Figure 4. 



which consisted of the cr^ss as it had mir- 
aculously appeared to him in the heavens" 
Symbolism in Chris- while a voicc was heard to exclaim, "By this 
tian Art, Hulme, p. 47. sigu shalt thou conqucr. ' ' Though Pugin says 
it is found in the Catacombs before the time of 
Glossary of Ecciesi- Constantiue. It is composed of the two Greek 
cot:!„°'°bT"ugrn'!'etters Chi, X and Rho, P, which are the first 
p. 178. two letters in the Greek word for Christ. 

The letter Chi, X when used to represent the 



CHART No. J, 



Tt+ 

A< T.31 

I HC IHS is 



10 



FIGURES. 



1. Tau Cross. 6. "Gammadion/' also called the 

2. Latin Cross. "Swastica." 

3. Greek Cross. 7,8, 9, and 10. Modifications of the 

4. Chi Rho. Sacred Monogram, showing the 

5. Anglican or Canterbury Cross. order of its development. 



In Christian Symbolism. 23 

cross, is termed the "crux decussata" and "is smith's Bible Die- 
called St. Andrew's Cross." t^°""y' ^^'^^ cross, 

The following quotation will render a more ^' ^^^' 
definite origin to the name of St. Andrew, as 
associated with this form of the cross. 

"St. Andrew, the patron saint of Scotland; 
also of the renowned order of Golden Fleece of 
Burgundy, and of the Order of the Cross of St. 
Andrew of Russia. The principal events in the 
life of this apostle chosen for representation by 
the Christian artists are his Flagellation, the 
Adoration of the Cross, and his Martyrdom. 
He is usually depicted as an old man, with long 
white hair and beard, holding the gospel in his 
right hand, and leaning upon a transverse 
cross, formed sometimes of planks, at others, 
of the rough branches of trees. This form of 
cross is peculiar to this saint, and hence it is Fairhoit's Dictionary 
termed St. Andrew's Cross. " of Terms in An, p. 26. 

To which add the statement that follows 
from Chamber's Encyclopaedia, vol. 3, page 
332, "The Cross of St. Andrew differed en- 
tirely in form from the Latin or Greek cross. 
This cross, or crux decussata^ consisted of two 
shafts of equal length, crossed diagonally at 
the middle. * * * According to the legend, 
this was the form of cross on which St. 
Andrew, the national saint of Scotland, 
suffered m^artyrdom. As the Scottish ensign, 
it is now blended with the Cross of St. George 
in the Union Jack." 

"The Cross of St. Andrew, * * the 
badge of the Order of the Thistle, is shaped 
like the letter X, though it was not till the 
fifteenth century that it was so represented. 
* * Early tradition affirms that St. Andrew 
was crucified on a cross of the ordinary form, 
but with his body extended horizontally. Like 
St. Peter, he deemed it far too great an honor 
to be crucified as was his Lord ; and he there- 



24 An Anglican Study 

fore gained from his persecutors the concession 

of being fixed sideways, while St. Peter was 

crucified head downwards. * * Tradition 

has it stated that this form of cross appeared 

in the sky to Achaius, king of the Scots, the 

night before a great battle with Athelstane, 

Symbolism in Chris- ^^^ being victorious, he went barefoot to the 

tian Art, Huime, pp. church of St. Audrcw, and vowed to adopt his 

86, 87. cross as the national device. ' ' 

M. E. C. Walcott, in his "Sacred Archae- 
ology?" under "Forms of Crosses," mentions 
among other forms the "Saltire (intromissa), 
like an X, when of white, is St. Andrew's; when 
of red, St. Patrick's. The Greek cross (de- 
cussata) has four equal arms, the scroll being 
set on lengthwise; when red, it is called St. 
George's cross. >K * * The Passion or Cal- 
vary cross has pointed limbs. The cross of the 
Resurrection stands on three degrees or steps. 
Sacred Archseoiogy, faith, hopc, charity ; the latter is the lower- 
by Walcott, p. 285. most, as the cross is rooted in love. ' ' 

Note that this writer makes a distinction be- 
tween the Latin Cross and the Passion Cross, 
the shape of the latter is the same as the Latin, 
with the addition that the limbs are pointed. 
This makes an interesting and valuable distinc- 
tion that it would be well to remember, for the 
writer is one that has given great research to 
the work he had in hand. It makes it possible 
to leave with the "Passion Symbols" the 
pointed form of the Cross, while the plain 
^ Latin Cross can be more generally used, as is 

done, to represent the whole truths of salvation 
through Christ. 

Would it not be well for the Brotherhood of 
St. Andrew, to consider what is said about St. 
Andrew's Cross, viz., that the Cross "saltire 
like an X, when of white, is St. Andrew's," but 
"when of red, St. Patrick's." 



In Christian Symbolism. 25 

Hulme, in speaking of the Chi Rho, says, 
"The monogram is sometimes termed the 
Chrisma, or erroneously, the labarum. 

The labarum is the standard of Constantine 
marked with the sacred device, and not the symbolism ia chns- 

device itself. ' ' tian Art, Hulme, p. 48. 

The Chi Rho is therefore a Super Symbol, 
because it represents the one idea. With all 
these facts it seems singular that to the early 
Christians there should have been any other 
symbol than the cross to receive a first place in 
art; yet it is found that until the fifth century 
the Cross in itself as a Symbol of Christ ^was 
not adopted in art. What then had the 
preference up to that time? It was the "sacred 
monogram, ' ' the Chi Rho. Isolated representa- 
tions of the cross, during the period of the 
supremacy of the Chi Rho, will not invalidate 
the statement made. The Chi Rho, whose 
various modifications are depicted by Louisa 
Twining in her volume "Symbols and Em- 
blems of Early and Mediaeval Christian Art, " 
are most interesting. 

This form of the Sacred Monogram, while 
having such preference in early art, for a time 
fell into abeyance, and the Sacred Monogram 
reappeared in the twelfth century in the form 
of the Greek letters, I. H. C. 

Notice that the first monogram used by the 
early Christians was that of the first two letters 
of the name of Christ, in Greek, Chi Rho. In 
those early centuries the name of Christ, the 
anointed, did not carry with it the same idea, 
as did the despised name of Jesus, therefore 
the spirit of the early Christians as referred to 
by Canon Farrar, was exemplified by their adopt- 
ing a monogram of that name which would be 
less likely to inflame their enemies. In the 
twelfth century, when the monogram was again 



26 An Anglican Study 

used, more frequently as a symbol, it was the 
monogram formed from the three letters of the 
Greek word for Jesus. 

To the I. H. C. Pugin refers as follows: 

**This monogram, like the former, the Chi 

Rho, is of Greek origin, being a contracted 

form of the Sacred Name, and the mark denot- 

chart, No. 1, Figures ing the contraction being afterwards changed 

7. 8, 9, 10. into the Cross. 

The more ancient form is that of I. H. C. 
It is said that St. Bernardine of Sienna, in- 
vented it as a devotional emblem, about the 
year 1400. The letters are les (us). The letter 
I being the same in the Greek as in English, 
the letter E being written like the Roman H, 
and the letter S expressed in old Greek by C. 
The Greek letters les, being thus written like 
the Roman letters I. H. C, were subsequently 
mistaken for them, and the Gothic form of the 
Roman letters, I. H. S. was adopted, probably 
through a mistake. The mark of the contrac- 
tion passing through the top of the Gothic form 
of the H formed the cross; and a new explana- 
tion of the monogram was devised to suit its 
altered form. It was said to mean I (esus) H 
(ominum) S (alvator). But whatever may 
have been the origin of this emblem, it has 

asticroTnfmenfandt'een so generally received, and is so Catholic 

costume,by A.weiby in its character, that it is most deserving of our 

Pugin, p. 179. reverence and adoption. ' ' 

The first two drawings at the left of the chart, 
(Chart No. 1, Figures 7 and 10,) show the 
Sacred Monogram as it first appeared, in the 
Greek letters; the form (Chart No. 1, Figure 
10,) shows the supposed Latin equivalent, mis- 
taking the Greek'; letters for the Latin I, h, c, 
and this error led to the still greater of attrib- 
uting the meaning to be, Jesus Homanum 
Salvator, when the Greek letter, which was 



In Christian Symbolism. 27 



mistaken as C, for Christ, was changed to S, 
to refer to Christ, as the saviour of men. 

To the student interested in following the 
development, as illustrated by the early Greek 
Mss., reference should be made to a volume 
entitled "Handbook of Greek and Latin Palae- 
ography," by Edward Maunde Thompson, 
New York, 1893, of the "International Scien- 
tific Series." 

"The name of Jesus Christ was always 
written in Greek letters by mediaeval scribes, 
and in contracted fo rm i t appeared in majuscule 
Mss. thus I H C, X P C, in Greek uncials. 
When these words had to be written in minu- ^^^^"^aUn^ °Pa?^r^ 
scule letters, the scribes treated them as purely ^^^^^^ lj\i,om^son] 
Latin words written in Latin letters, and tran- p. 102. 
scribed them ihc (or ihs) XPC." 

"In both Greek and Latin Paleography, 
large letters are called 'majuscules;' small 
letters 'minuscules.' Of large letters there are 
two kinds: Capitals, or large letters, formed, 
as in inscriptions, chiefly by strokes meeting at 
angles and avoiding curves, except where the 
actual forms of the letters absolutely require 
them, angular characters being more easily cut 
with the tool on hard substances such as stone Hand Book of Greek 
or metal ; and uncials, a modification of capi- and Latin Paizeog- 
tals, in which curves are freely introduced as raphy, by Thompson^ 
being more readily inscribed with the pen on p- i^^- 
soft material such as papyrus." 

Notice that Pugin states St. Bernardine of 
Sienna "invented it as a devotional emblem 
about the year 1400"; this should not be con- 
founded with the origin of the Sacred Mono- 
gram. 

The later form I. H. S. became the badge of 
the followers of St. Ignatius. 

The original and ancient form of I. H. C, 
dating back to the twelfth century, is therefore 



28 An Anglican Study 

of greater interest, and of more definite signifi- 
cance, than the I. H. S. 

What reasons can be assigned for the prefer- 
ence to the Sacred Monogram in the first few- 
centuries? Can it not be found in the fact that 
in the Cross was portrayed so much of the 
suffering of Christ, which classes it among the 
Passion Symbols of which there is such an 
absence in the early centuries? 

A second reason may have been, that famili- 
arity with the cross, as used in Egypt and 
among other peoples, and doubtless among the 
Jews, led the early Christians to turn to some- 
thing that would more definitely fix their ideas 
on Christ, and this they found in the Sacred 
Monogram. Canon Farrar, in his work, "The 
Life of Christ as Represented in Art," thus 
speaks, "The Christians, therefore, were in this 
difficulty ; they were not, they could not be, 
*" ashamed oi the Cross of Christ.' They knew 
it to be 'the power of God and the wisdom of 
God' to all who were in the way of salvation, 
and only an offence to the perishing. They 
were ready to glory in the cross, to suffer per- 
secution for the cross, and, at all hazard, 'to 
preach Jesus Christ and Him crucified. ' * * 
On the other hand, the way to win men is 
not to kindle their sense of abhorrence. A 
holy wisdom taught the Christians not to scare 
both Gentiles and Jews from all access to their 
religion by wilfully insulting their most violent 
prejudices, or by needlessly forcing upon them 
a difficulty which, unless rightly approached 
and understood, was to them practically in- 
superable. Nor were they in the least bound 
to do this. The cross did not express the whole 
of Christianity. The doctrine of the incarna- 
tion was one which included that of the cruci- 
fixion. Christ, in His attributes of Saviour of 



\ 



In Christian Symbolism. 29 

the "World, was as truly, as fully, as faithfully 
set forth in the aspect of the Good Shepherd as 
in that of the agonizing sufferer. Either sym- 
bol, if taken alone, was incomplete; nor indeed, 
can any symbol be all-comprehensive. Man's 
salvation was not wrought only by the death of 
Christ; still less by the sole fact that His 
death, though brief, was shameful and agoniz- 
ing. It was wrought by His nativity, by His 
life, by all His words, and all His works. It 
was not as the humiliated victim that He was 
present most consciously or most habitually to 
the minds of His children in the early centuries. 
They thought of Him more often as that which 
He was and ever shall be, the Son of God who 
sitteth to make intercession for us at the right 
hand of the Majesty on High. They did not 
morbidly meditate upon the three hours during 
which He hung upon the tree. That scene in 
man's redemption was over forever. * * * 
Christ suffered no more. Their Lord was now 
enthroned amid endless hallelujahs, as the Lord 
of time and all the worlds. They wished all 
men — Jews and Gentiles alike — so to think of 
Him. Therefore, while they did not for a 
moment omit the cross from their beliefs, they 
did not dwell predominantly, still less exclus- 
ively upon it. To all the world except them- 
selves, the horrible gibbet which Roman cor- 
ruption had introduced from the devilishness of 
Eastern cruelty was undissociable from 'ideas 
of pain, of guilt, of ignominy. ' Such associa- 
tions were the reverse of the joyous, the exult- 
ant, the inspiring, the soul-regenerating con- 
ceptions which the presence of Christ's spirit 
breathed into the hearts and lives of the chil- 
dren of the kingdom. * * It is true that 
among themselves, as early as the third cen- 
tury, they constantly used the sign of the cross. 



30 An Anglican Study 

* * * But even in using it, they did not 
connect it with all the erring and harrowing 
associations which were attached to it by 
mediaeval superstition. They used it as a 
token of recognition; as a sign of fellowship; 
as a reminder of the duty of self-denial ; as a 
symbol of consolation in days of persecution; 
as an encouragement to self-control, to self- 
dedication at all times. That it did not remind 
in^^Art^' by Canon ^^^"^ ^^ ^^^ crucifixion Only, or cvcn mainly, 
Fa-rrar, pp. 21, 22 and is provcd alike by their literature and their 
23. relics." 

"The objections to prominent representa- 
The Life of Christ ^^'^^^ ^^ ^^^ cross diminished as the punishment 
in Art, by Canon gi*ew rare. Crucifixion was finally abolished 
Farrar,p. 26. forcvcr by Constantinc. '(Sozom, 1.8).* " 

There is no need for apology for these state- 
ments regarding the Cross in the early cen- 
turies, the facts of history bear evidence to this 
Anglican statement. Canon Farrar, on page 
23, of his volume, "The Life of Christ in Art," 
calls attention to the remark of a "learned 
Roman prelate" thus, "the cross was not an 
The Life of Christ objcct to be Contemplated with morbid excite- 
in Art, by Canon mcnt and hystcrical sobs, but as an emblem of 
Farrar, pp. 23, 24. salvation, as f cHcity of life. ' ' 

In reference to the absence of the Passion' 
Symbols in the early Christian art, the follow- 
ing extract taken from a volume by Rev. E. L. 
Cutts, D.^D., entitled, "History of Early Chris- 
tian Art," will be of interest. It follows a list 
of early symbols and emblems. 

"We remark the absence from this list of the 
subjects of our Lord's Passion, and we do not 
know how to account for it. The narrative of 
them fills a very large space in all the gospels, 
and their pictorial representation occupies the 
prominent place which seems natural to us in 
the ecclesiastical art of a later period ; but in 



In Christian Symbolism. 31 

the art of these early ages these subjects are 
'conspicuous by their absence.' 

We call to mind that in the preaching of the 
apostles, record ed in the Acts of the Apostles, there 
is a similar reserve ; the subjects of those preach- 
ing are the resurrection and ascension of the 
Lord and the gift of the Holy Ghost, and the 
fulfillment in these great events of ancient type 
and prophecy; and in the Epistles, which are 
addressed to Christian people, though there are 
many allusions to our Lord's passion and 
death, there is no detailed presentation of the 
moving incidents so fully described in the 
Gospels, by way of appeal to their affections. 
This unemotional preaching of the early ages 
is in harmony with the fact which we have noted g^^., christian 
in the cycle of subjects treated in early Chris- Art, pp. 225, 226, by e. 
tian Art." l. Cutts, d.d. 

As a brief summary regarding early Christian 
art from the work of an able writer on the sub- 
ject, the following statement may be made. 

The first century has given only a few insig- 
nificant inscriptions. 

By the end of the second century Symbolical 
representations had increased. 

In the third century Eucharistic Symbols Bibiicai and Theo 

^^^pear. logical Library, 

Fourth century the Cross begins to supplant crooks & Hurst, voi. 
the Chi Rho." The Nimbus appears round the 'g;^^;;;''"c\^;,'^';"°^; 
head of Christ," and "the Lamb becomes a Bennett, d.d., with 

popular Symbol of Christ. ' ' an introductory notice 

Fifth century "the Cross becomes usual and ^y ^'- Ferdinand 
replaces the (chi rho) Monogram. " ^'p"' ^^' ^P" ^'' ^^• 

Sixth century developed the crucifix. 

From that time on Symbolism increased. History of Early 
and, as stated by one writer, "became over- ^i^ristian Art, by e. 
loaded," until the time of the Reformation, or, l. Cutts, d. d., p. 359. 
as it might be more fittingly styled, ' the 
renaissance of Christian art. 

"The monuments of the Christian art of the 



32 An Anglican Study 

early centuries prove the non-Catholicity of 
certain mediasval and modern doctrines and 
chrilda'^J Art, ^^jV^^cticGS, and their silence with respect to 
Cutts, p. 362. ' others is a protest against them." 

Symbolism to-day should stand purified and 
strengthened, which should be manifest in the 
works of painter, sculptor, architect and needle- 
worker. 

A subsequent paper in this series will refer 
particularly to the needlework and worker, as 
the biblical occupation contrasts and is asso- 
ciated with the modern. 

"The Womanly Art" is called into service 
now as in the days of the Tabernacle and Tem- 
ple, to make beautiful the dwelling place for 
the Lord. There are some unwritten laws that 
become manifest to the thoughtful student, 
while, needle in hand, the Sacred Symbols are 
wrought upon vestments for priests and cover- 
ings for Altar. (See Chapter 8, page 184. ) Thus 
the use of the Sacred Monogram on any vest- 
ment of the priest would seem inappropriate. 
Why? Because the priest should call to 
mind the sacrifice of Christ for us, which the 
Cross by itself suggests. The Sacred Altar and 
Credence table may bear the monogram of Him 
whose sacrifice is thereon commemorated, by 
holding the sacred elements that He con- 
secrated to the church's use. The following 
quotation regarding the use of the Cross will 
help to explain this statement. "The Cross is 
at once the most common and the most suit- 
' able ornament of the vestments of the clergy of 
the Catholic Church. On the stole, common to 
the three superior orders, one or more crosses 
are embroidered, while the pallium of the 
Western Archbishops has five. " * * * "On 
the old English chasuble, too, it is embroidered 
both in front and behind ; this was also usual in 
Germany. The intention of this is highly sym- 



In Christian Symbolism. 33 

bolical. 'A priest clad in sacred garments,' 
says Thomas A Kempis, 'hath before and 
behind him the sign of the Lord's cross, that 
he may continually be reminded of the passion 
of Christ. He weareth the cross on the chasu- 
ble before him that he may diligently look on 
Christ's footsteps, and earnestly study to follow 
them. Behind, also, he weareth the sign of the 
cross that he may cheerfully endure, for God's 
sake, any evil inflicted upon him by others. He 
weareth the cross before him that he may 
mourn for his own sins; and behind him that 
he may, in sympathy and tears, lament for the 
faults of others also, and know that he hath -p^^^ CathoUc 
been placed in the midst between God and the champ ionrNovem- 
sinner. ' ' ' ber, 1894. 

The pallium referred to is the archbishop's 
symbol of jurisdiction, and will be noticed in ^^ , ,, 

^•1 1 , TT . . Church Vestments, 

the lecture on Vestments. by a. Doiby, p. 167. 

Occasionally a priest will be seen wearing a 
surplice on which the Sacred Monogram is em- 
broidered, or antependia and banners will dis- 
play the same, in place of the Cross. To all this 
there is no written law of objection, but careful 
study suggests certain observances as in better 
keeping with true Symbolism. Symbolism is 
far too sacred a subject to be dwelt upon 
lightly, and a symbol should never be used as a 
mere matter of decoration. Its position should 
have some significant appropriateness. In an ^^ ^^ u 

_ jj „„ 1 -!->• 1 T>> 11 .1 .- 11 . ^ ihe Churchman for 

address by Bishop Dudley, the tollowmg refer- sept. 21,1895. 

ence to the cross is made. "The chanting choir 

may enter His house with solemn dignity, with 

the cross of His sacrificial death as the symbol 

of the victory wherein they rejoice." This 
• explains the some time reference to the Cross 
I as a symbol of rejoicing, further strengthens 
I the statement quoted in the first paper, that the 
1 *'empty cross" means more to the Christian 

than the crucifix. The latter makes prominent 



34 An Anglican Study 

the sufferings of Christ, while the Cross hy itself 
suggests the resurrection. 

The Latin Cross, the Cross of Calvary, when 
represented as the "square rough tree com- 
posed merely of a shaft and a cross-bar" is 
termed the Passion or actual Cross. The 
Resurrection and Ascension Cross "is the sym- 
bol of the real Cross" and is that which is 
"usually carried at the head of religious pro- 
cessions" * * * being "nothing more than 
a standard, the shaft of which, instead of being 
sharpened into a spear or pike, terminates in a 
cross." * * >i< "The Passion Cross," the 
graphyT M. Didron^ ^^uc Cross, is that of Suffering ; the other, the 
pp. 885, 'sse, Vol. 1. ' Resurrection Cross, is triumphant. ' ' 

From the quotations made from various 
authorities it is evident that as to the distinc- 
tions between the Passion Cross, and the Cross 
of the Resurrection and Ascension, there is a 
difference of opinion. 

From them all, it might seem possible and 
desirable to formulate the following definitions. 

The Actual Cross ; a Latin Cross, composed of 
shaft and cross-bar of the "square rough tree." 

The Passion Cross : The Latin Cross pointed. 

The Cross of the Resurrection : The Latin 
Cross "standing on three degrees or steps." 
Faith, Hope and Charity. "The lowest char- 
ity, or love, in which it is rooted " 

The Cross of the Ascension : The Latin Cross 
which terminates the long shaft carried in pro- 
cessions. 

There is still another form of the Cross that 
to the churchman is full of interest. It is the 
Anglican, or Canterbury Cross, which is shaped 
like the letter Y and is used on the back of the 
chasuble, and some illustrations of chasubles 
have it on the front also. It is at times used 
with the lower upright passing through the V 
shape of the Y, to the neck of the chasuble. 



In Christian Symbolism. 35 

The question arises, whence, how and when chart No. i, Figure 5. 
the origin of this form of the Cross? Careful 
reading on the subject has revealed no 
definite statement, but circumstantial evidence, 
if this expression may be used to explain the 
disconnected sentences here and there gathered, 
would seem to justify the following conclusion, 
viz., that its use antedates that of the Latin 
Cross on the chasuble. 

That it is a modification of the Tau Cross, to 
suit the vestment upon which it is used. As such 
it serves to strengthen the Anglican Church in 
its Apostolic Heredity, which antedates its 
union for a time with the See of Rome. A 
few of the reasons for the statement just made 
it will be well to remember. 

The Tau Cross, or as it is sometimes called, j^^ ^^.^ ' \° canon 
the cross of St. Anthony, takes its name from Farrar, p. 24. 
the Greek letter Tau, as has been before noted, 
which in shape it resembles. It is the oldest 
form of the cross. 

The name of St. Anthony's Cross, as applied 
to the Tau Cross, it is said, was "so called from 

i_ • u -J \3 ^1 / • i.> >> Smith's Bible Dic- 

bemg embroidered on that samt s cope. ,. „ _ ^-- 

o ^ tionary, p. 177. 

Care must be observed not to confuse the 
forms of the Tau Cross. In Christian art the 
Tau Cross is its Greek forrri. The cross used by chart No. i, Figure i. 
the Israelites was undoubtedly the Egyptian 
Tau. Dr. Rock states that there were some 
three modifications of this Egyptian Tau, but chart No. i, Figure 6. 
does not give examples. The above distinction 
will be sufficient for the purposes of this paper, 
and when the Tau Cross is mentioned, it will 
refer to its Greek form. 

The first form of the chasuble was large and 
flowing. 

Dr. Rock thus speaks of the changes that 
followed the conversion of Constantine. "From 
the moment that Constantine declared himself 
a Christian, the ceremonies of religion were 



36 An Anglican Study 

performed with splendor, and regal magnifi- 
cence shone throughout the sacred ritual. Be- 
fore this period, the garments of the priesthood 
at the altar, though not always, were more fre- 
quently composed of the less expensive mate- 
rials, and decorated merely with a scarlet stripe, 
which was then denominated Latus Clavus" 
* * "(The stripes were called 'Latus-clavus' 
if broad, 'Augustus clavus' if narrow)." * * 
"This was now exchanged for a vesture, the 
Church Vestments, samc indeed in form, but manufactured of the 

by A. Dolby, pp. 4, 5. richcst Stuffs. ' ' 

It is stated that at this time "the stripes of 
cloth called 'clavi' which hitherto had been 
used for ornamenting the priestly dress, in 
accordance with its secular type, began to be 
exchanged for bands of costlier material, 
Church Vestments, orphreys, to corrcspoud with the greater 
by A. Dolby, p. 4. spleudour of the fabric of the robe. " 

The origin of the term Orphrey will be given 
in the Lecture on Embroidery. The Orphrey 
at first was simply a continuance of the orna- 
mentation in the form of bands, only of hand- 
somer materials and work. This change was 
followed by the bands assuming an arrange- 
ment that suggested a deeper meaning to the 
Christian, which found expression in the use of 
the Tau Cross; illustrations of same can be 
Textile Fabrics, by fouud in the volumc "Church Vcstmeuts" by 
Rev. Daniel Rock, Auastasia Dolby, also description by Dr. Rock 
D. a n ge text £ ^ chasublc in the South Kensington Museum 

books regarding South • i ata /-a 

Kensington Museum), bcarmg the TaU CrOSS. 

On one chasuble of the eleventh century, the 

Tau Cross inverted with arms changed in their 

position to the Y shape, but having the upright 

Church Vestments, passing through the V part of the Y, is shown 

plates. by A. Dolby. 

This modification suited the shape of the 
chasuble, that approached the "Vesica Piscis. " 
When the chasuble became less full and flow- 



In Christian Symbolism. 37 

j ing ornamentation could be extended to the 
neck and shoulders, and the Y cross was placed 
in front, or on the back of the chasuble, or 
both back and front, but upright, not inverted. 
The space between the arms of the Cross was 
filled up with ornamentation, which was styled 
the 'Flower.' This is very beautifully illus- 
trated m the 'Chasuble' of St. Thomas of p, ^ ,, , 

|| Canterbury, preserved at Sens.' " ^^nZtJiT.T ' 

' Later the Latm Cross was used, which may 
have caused the change in the shape of the 
chasuble, or as seems to the writer more prob- 
able, the departure from the older shape of the 
vestment, led the way for the Latin Cross to 
supplant the Y. With these facts before the 
Anglican Christian surely the appropriateness 
of the use of the Y Cross on the chasuble as the 
sign of Christ to be used by the Anglican priest 
on his most sacred vestment, will need no fur- 
ther argument. On this point let another 
speak, "It is not for us, however, to give ex- 
amples for the adornment of the chasuble to 
the exclusion of the plain cross. Highly 
esteemed and indisputed authorities on the 
principles of taste in sacred art have shown as 
much favour to the use of the straight cross 
on the sacrificial garment as to that of the older 

, forni"; * * "The straight Latin cross on 

I the back of the chasuble did not fully obtain in 
Lngland till late in the fourteenth century." 
'Holy and solemn as the Latin cross is 
in Itself, and in other positions, we are bold 
enough to say that, in a spiritual sense, we con- 
sider it less refined, as a figure extending over 
the vestment, than the more mysterious sym- ru ^. ^ . . 
bol of the old Y shape " ^ \ n ,1 TT"' 

iirryu- ,. "^^^^F*^- A. Dolby, pp. 51, 52. 

ihjs application of the Latin cross may 
account m a great degree for the curtailment chorch ves.^.nt. 
of the ample proportions of the chasuble. " a. DoTb', p S2 ' 

io show the appropriateness of ecclesiastical 



38 An Anglican Study 

adornment in England, still another quotation 
full of significance for the Anglican churchman. 
*' Solitary instances of what has been fitly- 
termed exaggerated richness are recorded of 
some of the vestments of Mediaeval times, such 
as was the case in the tvvelfth century with one, 
at least, of the chasubles belonging to the 
Cathedral at Mentz, which was so weighted 
with splendor that the celebrant was compelled 
to exchange it at the offertory for a lighter 
vestment. This mistaken excess in sacerdotal 
adornment rarely, if ever, occurred in England, 
where with few exceptions, before the sixteenth 
century, we meet with no sacred decoration 
Church Vestments, which docs not, in a great measure, 'owe its 

A. Dolby, pp. 70, 71. chief bcauty to its propriety. ' " 
American Encycio- " Crosscs wcrc introduccd into churches 

paedic Dictionary, un- about A. D. 431, and began to bc set up on 

der Cross, as quoted gtecplcS aboUt A. D. 568." 

cTvunL^ory'^ ^"'^ All are familiar with thc old custom of sign- 
ing documents with the cross ; time was when 
it was supposed to denote great ignorance, but 
later research reveals the fact that to make 
valid the signature, a cross was used, and so 
undoubtedly signatures of the cross mark with- 
out the name might have occurred, where the 
signer was perfectly capable of writing. It is 
interesting to note the fact, that this signing of 
the cross to signatures, is spoken of as an 
Anglo-Saxon custom, one more point of inter- 
est to the Anglican Christian. May not this 
Anglo-Saxon use of the cross have had a deeper 
significance than we can now apply to it, denot- 

pzedI^^D7ctio"nIry' '^^ ^ ^^^^^^^^"^^^ ^^ ^^^^^^ ^^^^ foUnd CXpreS- 

under Cross. ' sion cvcn in this use of the cross? 



ii 



SYMBOLISM OF FORM— Continued. 
Chapter III. 

Symbols Referring to the Second Person of the Trin- 
ity — Symbol of the Lamb— Agnus Dei — Alpha Omega — 
The Lion— The Eagle— The Good Shepherd— The 
Fish — Vesica Piscis — Symbols Referring to the Third 
Person of the Trinity— The Dove — Symbols Represent- 
ing the Trinity — "Trine compass" — The Nimbus — 
Lamps — "The Eventide Hymn." 

In the previous lecture, after enumerating 
the fivefold divisions of Symbolism, viz.. 

Form, 

Color, 

Number, 

Language, 

Action, 
some time was spent upon the consideration 
of a few symbols belonging to the first division, 
that of Form ; when it was shown that to the 
Symbols referring to the three Persons of the 
Trinity, should the Christian student first turn. 
As your mind reverts to the past lecture, recall 
the reference to the Symbols early in use to 
denote the first Person of the Trinity ; that of 
the Father. Then remember, that passing on 
to the symbols referring to God the Son, much 
time was spent in the consideration of the Super 
Symbol, which has been so fittingly termed 
*'The Supreme Symbol,' that of the Cross. 
Do not forget the significance of the term Super 
Symbol which is used to express the difference 
that has arisen among writers on symbolism, 






4:0 An Anglican Study 

in the use of the term symbol. While in 
definition symbol, emblem, figure, and type are 
synonymous, there has grown to be a deeper 
meaning to the term symbol, and one which to 
the reader is likely to create confusion. It is 
to meet this difficulty, that in these lectures the 
term Super Symbol is adopted to express what 
is intended when writers on the subject use 
simply the word symbol. This term is em- 
ployed only in the consideration of Symbols of 
Form, and denotes that the symbol referred to 
is incapable of expressing more than one idea. 
That is, by its long use, as applied to one truth, 
it has completely obliterated every other idea 
it might at first have suggested. 

It is, of course, observed that symbols refer- 
ring to God the Son, are more in number than 
those that refer to God the Father, and God the 
Holy Ghost. 

This is not strange when Christ, manifest in 
the flesh, brought "life and immortality to 
light" through the blessed Gospel. 

In this lecture. Symbols of Form will again 
be considered, beginning with a continuance of 
those referring to the second Person of the 
Trinity. Having noted the Cross, in its 
peculiarly sacred symbolic character, as the 
Christian's sign of Triumph, the Lamb as a 
Symbol of Christ will be next considered. 

THE LAMB. 

This is one of the most ancient symbols used 
to represent the Second Person of the Trinity. 
Its appropriateness is found in texts both in 
the New and Old Testament. 

It was so universally used in the early cen- 
turies to represent the Saviour, that a "council 
L. Twining Symbols -j^ qq^ was obliged to dccrcc that it should not 
tratl'Tri^' *'''"" b^ thus substituted for His human form." 



In Christian Symbolism. 41 

The text of the decree of this council, that 
occurred in 692 under Justinian II., and which 
was called Quini Sextum, is interesting to 
quote. There seems to have been danger of 
the human nature of Christ and His atoning 
' sacrifice for the world being forgotten in the 
use of the typical Lamb, and thus an unconsci- 
ous step, it would seem, would have been taken 
by the church, towards that form of belief that 
denies the God man. The decree is as follows: 

"In certain venerable pictures and images, 
the Precursor St. John is represented pointing 
with his hand towards the Lamb of God. We 
adopt this representation as an image of grace ; 
to our apprehension, it was the shadow of that 
Lamb, Christ, our God, whom the law ex- 
hibited to us. 

Having then, in the first instances, accepted 
these figures and shadows, as signs, and em- 
blems, we now prefer to them grace and truth, 
that is to say, the fulness of the law. In con- 
sequence of this, and in order to expose to all 
regards, perfection, even in paintings, we 
determine that for the future, in images of 
Christ our God, He shall be represented in His 
human form, instead of in that of the Lamb, as 
in former time. We must contemplate all the 
sublimity of the Word through the veil of His 
humility. 

The painter must, as it were, lead us by the 
hand to the remembrance of Jesus, living in 
the flesh, suffering and dying for our salvation Didron's christian 
and thus obtaining the redemption of the iconography, voi. i, 
world." P-^^2- 

In the Western Church, however, this Symbol ^- Twining, Sym- 
was not forbidden till the time of Charlemagne. l^'J''^'^^ ^r!"^"": °^ 

T, T , ,1- , ^ ^^ . Christian Art, p. 28. 

It did not disappear even then, and to this 
day continues as a favorite Symbol of Christ. 
The early representations are of course without 
the Nimbus, for the reason as previously stated 



42 An Anglican Study 

that the Nimbus was not used in Christian Art 
until the fourth or fifth century. 

There are various representations of the 
Lamb, taken from the Catacombs and else- 
where, all of which bear distinguishing marks, 
that denote its reference to the Saviour, such 
as bearing the Chi. Rho. ; the Shepherd's 
crook ; the Cross ; the Nimbus ; the banner 
with Cross, or Nimbus, or both. The term 
Agnus Dei has been applied to that design, 
which has the head of the Lamb surrounded by 
a Nimbus and carrying the cross either with or 
without the banner. 
_ symbolism in Chris- L^^^g jx. of Francc 1226-1270 caused a coin 
168° ^ ' "" "'*^' ^ ^^ ^^ struck which bore on one side the Agnus 
Dei. This coin Edward III. of England imi- 
bi^mTof^chr^rdanlTbt^ted, and it is illustratcd in Louisa Twining's 
L, Twining, plate 10, volumc, whcrc it wiU bc found depicted, with 
No. 25. Cross, Banner, and Cruciform Nimbus. 

Although the Lamb in art is sometimes asso- 
ciated with St. John the Baptist, and certain 
other of the saints, also with the followers of 
Christ, yet are they so infrequent that the idea 
of the Lamb even, as a symbol of any other 
than Christ seems to be quite forgotten ; and 
one might be justified in calling the Lamb, a 
Super Symbol. Should, however, exception be 
taken on account of these minor representa- 
tions referred to, such objection could not be 
had for placing the Agnus Dei in the list of 
Super Symbols, for this comes down to the 
present time as a Symbol of Christ that cannot 
be mistaken. 

To those who often question the propriety of 

symbolism, yet are zealous Christians in the 

church, should be shown that petition which 

. reads "O Lamb of God, that takest away the 

Symbolism in Chris- • r ,i i i i >> 

ianArt,Huime,p.i70.sins of the world, havc mercy upon us as a 

type of symbolism used by them each Sunday. 

The student will find various illustrations of 



In Christian Symbolism. 43 

the symbolic use of the Lamb, or of lambs ; but 
I for the purposes of this paper in suggesting 
I symbols to be followed, the Agnus Dei is the 

I one form to be imitated, both with the brush 

II and the needle, as a type of that better form of 
!' symbolism that survives and continues in the 

j Renaissance of Christian Art. Before the thir- H^el^aiTw^otTif t^he 

teenth century, the symbol of the Lamb had the thirteenth century, see 
I! preference; later, greater reality was indulged christian iconogra- 
I in. In the time of Durandus, a happy medium p^^- ^y oidron, voi. 
I seems to have been "almost attained. This '^" ^^'' 
I quotation from Durandus, it is stated, will form 

*'a complement to the decision of the council," 

which has been noted. "Because John the 

Baptist pointed to him saying 'Behold the 

Lamb of God,' therefore some represented 

Christ under the form of a Lamb ; but for as 

much as the shadow hath passed away, and 

that Christ is very man ; therefore, ' saith Pope 

Adrian (Adrian I. in eighth century) 'He ought 

to be represented in the form of a man. ' The 

Lamb of God must not be depicted on the cross 

as a principal object. But there is no let, 

when Christ hath been represented as a man, christian iconogra- 

to paint a Lamb on an inferior part of the cross, phy, by Didron, Voi. 

or on the reverse. " i, p. 336. 

It will be remembered that the council 

referred to was held in the seventh century. 

ALPHA OMEGA. 

The first and last letters of the Greek alpha- 
bet are so clearly without question a Super 
Symbol, that to prove it, no argument is neces- 
sary. Its origin, as such is found in the. first 
chapter of that marvelous book of Revelation, 
eighth verse, that reads, "I am Alpha and 
Omega, the beginning and the ending, saith 
the Lord, which is, and which was, and which 
is to come, the Almighty," together with the 



44: An Anglican Study 

saying of the Prophet Isaiah when he pro- 
claimed the prophecy : "I, the Lord, the first and 
Isaiah 41:4 and 44:6. with the last ; I am he. " 

In art its use seems to have been introduced 
in the second century, and is found associated 
with other symbols, as in the Nimbus, when it 
indicates the Second Person of the Trinity, 
which the Nimbus without the Alpha and 
Omega would not have definitely signified. 

Care must be taken here to understand what 
is meant regarding the Nimbus; it is not that 
the Alpha and Omega are surrounded in them- 
selves by a Nimbus, but that the Alpha and 
Omega are placed in a Nimbus that is about the 
head of a person, indicating, as does the Cross 
in the Nimbus, that the Second Person of the 
Trinity is intended to be represented. L. 
Twining does not give this as a separate sym- 
bol, but shows it combined with others, yet its 
significance refers so directly, and alone to 
Christ, that it is here considered as a Super 

Rev. 1:8, 21:6, 22:13; Symbol. 

of Is. 41:4.44:6. "A and O. The first and last letters of the 

Greek alphabet, used to express the eternity of 
God. Its form belongs to St. John's Revela- 
tion, but its meaning is found already in Isaiah. 
It was used by the Jews later to express the 
comprehensive nature of God. The symbol is 
generally assigned to our Lord. In the first 
passage, the symbol may refer to the Trinity, 
but it is better (in view of the fact that in 
22:13, our Lord gives this title to Himself) to 
hold that it is one of the Lord's titles, implying 
for Him all the attributes of the Godhead, as 
being the Source, Upholder and End of all 
things. These two letters passed into early 
Christian use, being found in the Catacombs; 
and into ecclesiastical Latin poetry {vide Pru- 
dentius, Cathem, 9:10,) and so into liturgical 
Church cyciopsedia, ^sc. It is oftcn uscd as a monogram in church 

by Benton, p. 1. dcCOration. ' ' 



In Christian Symbolism. 45 



THE LION. 



In the foregoing Symbols of Form which have 
I been considered, they have resolved themselves 
into Super Symbols. 

The form now to be dwelt upon, that of the 
Lion, will have to be studied in its principal 
significance first, and secondly as applied to the 
Second Person of the Trinity, thereby proving 
its position as among the symbols, but not a 
Super Symbol. 

The symbols of the Evangelists are the four 

*iT • • r^ 4. "J -u J u -.u -n u 4. Ezekiel 1:10; Rev. 

Livmg Creatures described by the Prophet 4. ^ 
Ezekiel and St. John in their prophetic visions. 

It is found represented in art, from the fifth symbols and Em- 

century. blems of christian 

There have been some differences of opinion. Art, Twining, p. 95. 
as to the symbols used to represent St. Matthew 
and St. Mark; giving some times to St. 
Matthew the symbol of the lion, and to St. , , y" ° J *^ ™- 

1 1 r 1 1 1 r blems of Christian 

Mark the symbol of the angel, or human form. Art, Twining p. 96. 

The opinion generally received, and which 
has been adopted in art, is that of St. Jerome, 
as follows: "The first face, that of a man, signi- 
fies Matthew, who begins to write, as of a man, 
the book of the generation of Jesus Christ, 
the son of David, the son of Abraham ; the 
second, Mark, in which is heard the voice of 
the Lion roaring in the desert, 'prepare ye the v 

way of the Lord;' the third, that of the calf, 
prefigures Luke the Evangelist, commencing 
his history from the Priest Zechariah ; and the 
fourth, the Evangelist St. John, who, having ^^^^^^^ ^^^ Em- 
taken the wings of an Eagle, and hastening to biemsof christian Art, 
loftier things, speaks of the Word of God. " l. Twining, p. 96. 
To better fix in the mind the symbol associated 
with each Evangelist, one writer has suggested Huime, symbolism 
the following word "Aloe" which will be in christian Art. 
observed is composed of the initial letter of 
each of the four symbols, viz., Angel, Lion, 



iii 



46 An Anglican Study 

Huime, Symbolism Ox, and Eagle, referring in their order to the 
in Christian Art. four evangelists. 

By reference to Holy Scripture, it is found 
that Ezekiel gives the description of his vision 
as being on the banks of "the river Chebar" 
when a captive in Assyria. Assyrian sculpture 
reveals the fact that such figures were common, 
with human and animal forms combined ; from 
these forms in sculpture that surrounded him, 
undoubtedly the ideas of Ezekiel took shape in 
his vision. Then St. John in his vision was 
guided by his remembrance of the vision of 
Ezekiel, and they both were without doubt 
Huime, Symbolism inspired by God to make use of what was 
in Christian Art. familiar, to cxprcss a higher meaning. 

This significance of the Lion to represent the 
Evangelist St. Mark, has become so universal, 
that the mind reverts to, the Evangelist, quite 
as quickly when this symbol is seen as to Christ, 
to whom it also refers. Turn now to the sym- 
bol of the Lion as applied to Christ. It is found 
suggested in that text "The Lion of the tribe of 
Rev. 5:5. Juda. " It is also used as a symbol of the 

resurrection, because "it was anciently said of 
the lion that it was born dead, and was only 
waked into life after three days, by the roar of 
Symbols and Em- its parent," which helped to increase its appro- 
biems of Christian priateness as a Symbol of Christ, for was it not 
Art, by L. Twining p. ^i^j-gg ^^y^ ^^ ]^y [^ ^^^ tomb? The Liou docs 

not seem to Have been a favored symbol in 
Christian art, as few examples are found, but 
enough has been gathered to show, that when 
found, it may or it may not, refer to Christ ; 
therefore, it cannot be classed as a Super Sym- 
bol, only a. symbol, or emblem. 

THE EAGLE. 

The question as to why the Eagle is so fre- 
quently used for lecturn or reading desk, might 



81. 



In Christian Symbolism. 47 

be considered here. Its appropriateness as being 

i the symbol of one of the evangelists is, of course, 

I recognized; but why the Eagle to the almost 

I exclusion of the other evangelistic symbols? 

|l True the Angel is sometimes used, but the inap- 
propriateness of the Lion or Ox forthat position, 
would, from an artistic standpoint at least, be 
apparent. May not the answer be found for 
the more frequent use of the Eagle than the 
Angel, in the fact that in Scripture the Eagle is 
also used to symbolize God? See Ex. 19:4. 
Deut. 32:11. 

As a lecturn it would seem doubly appropri- 
ate therefore, holding, as it does, the Old and 
New Testament, the Word of God. The Eagle 
is also used to symbolize the Holy Spirit, but 
these representations are not frequent, nor are 
they found in the Catacombs, yet they are 
found in the later centuries, and it seems to 
have been an ancient Hebrew symbol of the 
Spirit. It is also found in art as associated with 
persons of the Old Testament, as where the t • ■ 
double-headed eagle is used with Elisha, to^o^; ^jE^^SernHf 
represent the "double portion" of Elijah's spirit christian Art, pp. 69, 
which he (Elisha) had asked for. 70 and piate 3i. 

The heavenward flight of the Eagle with his 
gaze to the sun, has made it a Symbol of the 
Ascension, though it is far more widely recog- symbolism in chris- 
nized as a Symbol of St. John. tian Art,Huimep, 190. 

It is certainly evident from the different 
references that the Eagle could not be classed 
as a Super Symbol, for while it was used-to rep- 
resent Christ, there were several other ideas 
and persons that it symbolized. 

THE GOOD SHEPHERD. 

This loving Symbol of the Second Person of 
the Trinity, which Christ himself gave to the 
church, must surely be classed in the list of 



48 An Anglican Study 

Super Symbols, yet one fact should be noted 
which is not explained, that from being a 
favored symbol of the early Christians, and 
found most frequently in the Catacombs, it 
apparentlydisappears for a time, and it is stated 
that no traces are found of its use in art for 
five centuries; that is from the eleventh to the 
sixteenth century. It found authority not only 
in the New Testament, but also in many refer- 
ences in the Old Testament. Even to-day, 
Twinmg's y"" ° ^ gxccpt in glass windows, this Symbol is not 



and Emblems o- 

Christian Art, p. 85. generally used 



THE FISH. 



The Fish, as an emblem of the Second Person 
of the Trinity, is full of interest because of its 
early use, and complicated significance, and the 
artistic designs that have resulted from it, 
which to-day are constantly used. That the 
fish should be called a symbol, can only be 
adopted under the definition that renders sym- 
bol, emblem, type and figure as synonymous, it 
could never be classed as a Super Symbol. 

"St. Augustine and TertuUian both speak of 
the fish as a symbol of Christ." The Fish is 
never found surrounded with a Nimbus, still 
less with a cruciform Nimbus. It surely was a 
sacred type among the early Christians, and is 
found frequently in the Catacombs, where it 
represented Baptism. On this point TertuUian 
speaks again, and strengthens the argument 
against the Fish as a Super Symbol when he 
says, "We are born in water, like the fish. " The 
finding of a Fish sculptured on a tomb in the 
anTSZie'msoJch^r^l! Catacombs is thought to designate the person 
tian Art, p. 83, plate 65. as haviug bceu baptized. 

There is still another interpretation that 
points to the Greek word for Fish, from which 
the anagram can be formed of the words "Jesus 



Ix Christian Symbolism. 49 

Christ the Son of God the Saviour." It is 

singular, that while this significance is based 

upon the Greek word for fish, there is nothing 

found of it on Greek monuments, only on those 

of the Latin. "When Greek ceased to be the Early christian Art, 

ecclesiastical language of the Roman Church, the by e. l. Cutts, pp. i76, 

Fish Symbol disappears from its monuments. " ^^^• 

It was "A Greek of Alexandria" christian iconog- 

"Optatus, Bishop of Milesia, in Africa, ^^P^y ^^^ i^'^^'O"' Voi. 
about the middle of the fourth century," who 'P-^^^- 
^'declared that the single name of fish, accord- 
ing to the Greek denomination, contained in 
the letters composing it, a host of sacred r-, ■ .■ t 

1 • 1 • -IT • i,4T ^i • Christian Icon og - 

names which gives m the Latm, Jesus Christ raphy by Didron, voi. 

the Son of God, the Saviour." The Fish isi, p. 347. 

found carved on fonts, and in baptistries, 

showing its connection with baptism. The christian iconog- 

name Piscina which is given to the Baptismal ^'^^1^^^^^ ^^'^'°°' ™- 

font, comes from the Latin word for fish, Piscis. 

The Fish as an emblem is found mostly in the 
first and second centuries, in the third it began ^^- ^^""'y christian 
to disappear, and in the fourth it became rare, fj^ ^^ ^''"'' pp- 2^^- 

From the Fish comes the form of Aureole 
known as Vesica Piscis, that is used to sui round 
peculiarly sacred subjects, and "was the form '^T,'''^"^'' ^^":^°^" 

'^ ,, -' T J. -^ , .' . 1 ^ ,, r^^^ • and Emblems of Chns- 

generally used for ecclesiastical seals. This tian Art, p. 33. 
shape is still used, as see the various seals of 
the different dioceses. 

As to how this vesica piscis came to be 
developed from the Fish, it should be stated 
that in the drawings of a fish on the early 
monuments the design changed frequently into 
what was termed, the air bladder of the Fish, 
which in turn passed into the form now known 
as vesica piscis. One writer has said "Often 
times this figure of a fish was little more than 
a pointed oval, to which eyes, fins, gills, and a 
tail were added. This pointed oval came to be 

i„ • 1, J . ,. . ,1 . Embroidery for 

known m later days as vesica fiscis, the air- church Guilds by s.c 
bladder of a Fish, ' ' woodward, p. 19. 



50 An Anglican Study 

The Aureole forms a part of the study of the 
Nimbus and will be described in that part of 
this lecture that dwells upon that ecclesiastical 
accessory. More detailed consideration of the 
Fish will not be necessary here, as in a previous 
lecture it was clearly shown to be an emblem 
only, which is further strengthened by the fact 
as stated, that the Fish is never represented with 
a Nimbus. 

There are two other symbols that were used to 
represent Christ, viz., Orpheus, and the form of 
a Youth. The former, of course, borrowed by 
the early Christians from Pagan art, and the 
latter symbol probably developed from the 
same source, neither have ever held the sig- 
nificance of those that in these lectures are 
termed Super Symbols. Orpheus suggests its 
classical significance, and the figure of a Youth 
is too general in its idea, to permit of its being 
classed as a Super Symbol. 

Under this division. Symbols of Form, the 
Third Person of the Trinity, as represented by 
symbols is the next step in the analysis of the 
subject. 

It seems that divine interposition came to 
give to the world the true Symbol of the Holy 
Spirit. 

In that solemn moment when the voice from 
heaven proclaimed "this is my beloved Son," 
the Dove appeared, the harbinger of good to 
the world as it had been to Noah, when the 
light began to dawn, and nature budded forth 
after God's overwhelming flood, that followed 
man's sin. No wonder then that early Chris- 
tian art adopted this Symbol, and placed it 
near the Cross. The following having been 
said of this Symbol, surely its position among 
the list of Super Symbols will seem most appro- 
priate. "The symbol of the Dove is one of the 
few that has retained its place in Christian art 



In Christian Symbolism. 51 

from the earliest times to the present, and with^f^'"^^^^ ^^^ .^.'"- 

.. ... ,, ^ ' blemsof Christian 

little variation m its form. Art, Twining, p. 55. 

After the eleventh century it appeared com- 
bined with the human figure, but always repre- 
senting the Holy Spirit, whether designating 
the Third Person of the Trinity, or the gifts and 
descent of the Spirit, As would be expected, 
the earliest samples of this Symbol are without 
the Nimbus, for the reason as previously 
stated, that the Nimbus in Christian art did not 
appear until the fourth or fifth century. 

The Dove is found with the Aureole, which is 
the expression of sacredness used to surround 
the whole object. Although there are some 
early representations of the Dove, denoting 
gentleness, purity, innocence, and with the 
palm branch emblem of victory over death, yet 
all these lose their significance, and are lost 
sight of in the fuller symbolic interpretation, 
that of its representing the Holy Spirit, which 
has come down pure and simple, to the present 
day. 

There is a symbol the Christian likes to 
think of, that of the Tongues of Fire which 
descended at Pentecost. These have been 
depicted in art, but not sufficiently often to 
impress them upon the casual observer of 
symbols, as being worthy a place among the 
Super Symbols, Pause to ask, has such a de- 
sign ever been used to signify any other truth, 
than the descent of the Holy Spirit? then surely 
may be classed as a Super Symbol. Wrought it 
with the needle on altar cloths for Whitsuntide, 
it is suggestive, handsome and effective. 

The Eagle, as a symbol of the Holy Spirit, has 
been already referred to, when considering the 
symbols of the Evangelists, and its position as a 
Symbol, not a Super Symbol, seems established. 

The human form to represent theThird Person 
of the Trinity, has also been used as well as for 



52 An Anglican Study 

the First and Second persons of the Trinity. It 
is stated that about the tenth century a rival 
symbol of the Dove, to represent the Holy 
Spirit, was introduced by representations of the 
Human Form. It seems never to have received 
much favor, or been largely adopted. About 
„ r^, . ^- T the close of the sixteenth centurv it ceased to 

bee Cnristian Icon- . .- ^ . . , 

ography by Didron, be uscd, and the Dove agam received its right- 

Voi. 1, p. 467. f ul supremacy. 

Note the dates of the centuries during which 
the representations of the Human Form were 
used to signify the Holy Spirit, remember that 
period marked the Dark Ages, and you can 
draw your own conclusions as to the purity 
of the symbols that preceded and followed that 
period, as those for the church to follow to-day. 

SYMBOLS REPRESENTING THE 
TRINITY. 

_^Dktionary of _urrn^s ^^^ Triangle is Said to bc thc oldcst form of 
p. 439. ' ' symbol to represent the Trinity. 

The importance of the Triangle as a Christian 
symbol is perhaps not fully realized, let the 
value of its significance be impressed by quoting 
from an authority in art. "Triangle. An 
equilateral triangle is a symbol of the Holy 
Trinity, and many figures in Christian orna- 
ment are constructed on this principle, as types 
of that mystery. The equilateral triangle is 
found in the most beautiful arches, in the pro- 
portions of the churches themselves, and next 

Fairholt's Diction- f ^, • ^u ^ • ^ L £ 

ary of terms in Art, p. to the cross, IS the most important form m 
489. Christian design. ' ' 

The Circle is so well known as a symbol of 
eternity, or expressing that which has neither 
chart,No.2,Figures beginning nor ending, that its presence with 
1,2. the triangle seems to need no explanation. 

One form "apt and venerable" * * "the 
trine compass (as it is called by Chaucer), 



CHART No. 2. 




FIGURES. 

1. A Symbol of the Trinity. 

2. The "Trine Compass,'" spoken of bv Chaucer 

3. Shield with Motto. 



In Christian Symbolism. 53 

' That of the trine comi)ass Lord and miide 

. , ' -1 • -u J -i-u- ChartNo. 2, Figure2. 

?5, or a circle inscribed withm an ^ 

equilateral trianofle; denoting the co-equalitv 

J ^ . ? ^1 ' ^, j.^. ^- , , ' Hook's Church Dic- 

and co-eternity of the three divine persons in the ^-^^^ revised Edt 
ever blessed and undivided Trinity." During Emblem, p. 213. 
the first eight centuries of Christian art, the 
use of the Triangle was not well developed. In 
that period the three persons of the Trinity 
were represented in art, but separately. The 
first time they seem to have been placed 
together, was in the fourth century, and that 
representation consisted of "the Hand, the 
Lamb, and the Dove, " which is said no longer to 
exist. There is instanced a drawing of a 
triangle on one of the grave-stones in the Cata- 
combs, in which the monogram of the name 
of Christ is placed. 

Human forms in conjunction to symbolize 
the three persons of the Trinity were used dur- 
ng the same period that the Human form was 
used to represent the Holy Spirit, which period § ^ois and Em- 
as has been shown corresponded with the Dark biems of christian, 
Ages. Symbolism to-day purified returns to Art, Twining, p. 75. 
the "reverential feelings of the early ages" and 
the Human form is not used to represent the 
Trinity, instead are found the Triangle, three 
Circles linked one within the other, also the 
double Triangle, which when filled within the 
outlines, produces a six-pointed star. The 
difference in the drawing of the star might be 
noted here. Frequently the star has ' five 
points; again it is found with six. There 
would seem to be a deeper significance to this 
difference than has as yet been definitely deter- 
mined. This comment might be made in these 
lectures, that in the use of the Star, whereever 
its position would in any way refer to the sacri- 
ficial idea of the Christian religion, the five- 
pointed Star should be used: and where its 
reference should bear upon the union of the 



54 An Anglican Study 

God-head, the Trinity, the six-pointed Star 
should be used. 

Another design is that of a Shield differently 
shaped, as to outline but bearing the following 
chartNo.2, Figures. inscription, usually in Latin. The motto read 
one way "God is the Father, God is the Son, 
God is the Holy Spirit." The same motto 
read the other way "The Father is not the Son, 
the Son is not the Holy Spirit, the Holy Spirit 
is not the Father." From nature the Tre-foil 
and Fleur-de-lis are usually chosen to represent 
the Trinity. There are countless other evi- 
dences of the beautiful union of three in one to 
be found by the careful student of botany. 

In regard to the Fleur-de-lis, "Ancient Heralds 
(say Newton Display, p. 145) tell us that the 
Franks of old had a custom, at the proclamation 
of their king, to elevate him on a shield or 
target, and place in his hand a reed or flag in 
blossom, instead of a scepter, and from thence 
the kings of the first and second race in France 
are represented with scepters in their hands 
like the flag with its flower, and which flowers 
became the armorial figures of France." "How- 
ever this may be, or whatever may be the value 
of the other legendary tales, such as that a blue 
banner embroidered with golden fleur-de-lis, 
came down from heaven; that an angel gave it 
to King Clovis at his baptism, and the like; 
there can be little doubt that, from Clovis (486 
A. D. ) downwards, the kings of France bore as 
their arms first an indefinite number, and 
latterly three golden lilies on a blue field, or as 
heralds would say, azure, three fleur-de-lis, or. 
It was Charles VI., (1388-1422) who reduced 
what had hitherto been the indefinite number 
of fleur-de-lis to three, disposed two and one: 
"Some conjecture upon account of the Trinity; 

The International . -" , ^ j. 1.1. j.-u j'cc *. 

Cyclopedia, Vol. 6, p. Others say, to represent the three different 
46. races of the kings of France. " (Nisbet 1:383)." 



In Christian Symbolism. 55 

Now the question is, did the fleur-de-lis be- 
come an ecclesiastical emblem of the Trinity, 
at this time, 1388-1422 A. D., or had it been an 
emblem of the church before, and did Charles 
VI. reduce the number on the shield of France 
to bring it more into harmony with the 
ecclesiastical emblem? This may or may not 
be determined. It is to be hoped some 
ecclesiastical record will be found to determine 
the point. 

To be classed as Super Symbols, the Triangle, 
the Shield with the motto as just given, and 
the three Rings united, can alone be chosen, and 
even they lack the force as symbols of Form, 
that has been found when considering the Super 
Symbols referring to the separate persons of 
the Trinity. There is indeed "a language 
that is mute" which is realized when the evi- 
dences of these beautiful truths first dawn upon 
one, as their eyes' are opened to receive it all. 
Ruskin, in referring to the "Symbolism of the 
Trinity, " says "all composition is, as you know, 
based on our love of three in one. A picture 
must have three centres of color, three of 
shade, three of light; and these three must be 
so united as to form one. All fine forms of 
nature, in hills, leaves, branches — what you 
will — are triple. " 

Before leaving the consideration of symbol- 
ism of form, it will be necessary to dwell for a 
few moments upon the significance and form 
of that addition to different symbols, that is 
found after the fifth century to have been 
introduced into Christian art, viz., the Nimbus. 

THE NIMBUS. 

What is it? and how represented? 

It is generally circular, variously formed, used 
to surround the head of a figure to denote a 
sacredness or glory. 



56 An Anglican Study 

Its origin has been supposed to have been 
Pagan, and its introduction into Christian art 
began in the fourth or fifth century. But what 
does the Christian student of symboHsm say? 
The Nimbus derives its origin surely from 
attempts by man to represent that glory that 
shone when Moses talked with God, and Christ 
was transfigured. Thus back of all Pagan forms 
of symbolism there lies a hidden truth whose 
origin is found in the Word of God. 

The use of the Nimbus in Pagan art seems to 
indicate power, while in Christian art it repre- 
sents holiness. 

In that wonderful work "The Book of the 
Dead" that brings to light the many hidden 
mysteries of Egyptian art, of which it is said 
that its "last line was in all probability written 
before the first line of our Holy Scriptures was 
penned," reference is made to the representa- 
tions of the Khaib, or shade of one who has 
Bibiia for November, ^i^^- "The Khaibs are represented as semi- 
1896, pp. 211 and 217. circular, and very gay with colors or feathers. ' ' 

There are but few references found in the 
"Book of the Dead" to the Khaib, and in later 
pictures it is represented as something being 
carried after "great men in triumphal proces- 
sion, a kind of sunshade. " What can be thought 
of this circular sunshade, representing the 
shade, or spirit, of the departed, as being the 
possible origin of the shape of the Nimbus? 

Of the Nimbus it is stated that it appeared in 
Christian art, in the fourth or fifth century, 
Symbolism in Chris- though ^omc wrltcrs Say the sixth century, 
tian Art, Huime, p. 68. and disappeared in the sixteenth century. The 
Nimbus is introduced in art of to-day, chiefly, 
however, in stained glass windows, or executed 
by the deft embroiderer. 

To better understand the importance of the 
Nimbus, it will be well to quote the following, 
that speaks of it as an "attribute of frequent 




In Christian Symbolism. 57 

occurrence in Christian archasology, and which 
alone will often be found sufficiently expressive 
to enable us to determine the dignity and 
character of the personage invested with it. 
This peculiar ornament is usually designated 
the Nimbus or Glory." * * * "It either 
encircles the head alone or the entire figure. 
As an attribute it serves to denote a holy per- 
son, in the same manner as the crosier or the 
sceptre distinguishes a bishop or a king. When 
this attribute enriches the head only, it is called 
a nimbus. In this case it is analagous in sig- 
nificance to a crown, from which, however, it 
differs essentially in position if not in form. 
Both the crown and the nimbus are circular, 
but the former is placed horizontally on the 
head, the position of the latter is vertical. The 
nimbus may sometimes be almost microscopic in 
dimensions, but its importance ought never to 
be overlooked. * * Since the omission of it 
may transform a saint into an ordinary mortal, 
or an incorrect application elevate the mere 
mortal into a divinity. Errors of this descrip- 
tion are frequently committed by artists of the ^, . ,. t 

T ^. , •'. .-^ . ... Christian Icon- 

present day m their representations or religious ography, by^ Didro^, 
themes." voi. i, p. 22. ° 

The Nimbus is sometimes square, to denote a 
living person, and in the form of a triangle, to symbolism in chris- 
denote the Trinity. When the whole person is ^^^-^^ ^rt.by Huime, pp. 
surrounded, not only the head, the shape given 
to the representation of the glory is an oblong 
oval, the same that to-day is used for ecclesias- 
tical seals, and is known under the name of 
"Vecisa Piscis, " which adds greatly to the in- 
terest and significance of the design. This 
"Vesica Piscis" or Aureole should be reserved 
for peculiarly sacred subjects. The origin of 
the "Vesica Piscis" has been before alluded to, 
as resulting from the crude representations of 
the Fish in early art, that in many cases resem- 
bled the air-bladder of the fish. 



58 An Anglican Study 

The derivation of the word Nimbus agrees in 
Christian Icon- ^^^ Latin and Greek, and means a cloud, 
ography, p. 25, Vol 1, Thus sacrcd objects are surrounded with a 
Didron. cloud or glory. 

One writer gives the term glory to express 

there presentations that have both Nimbus and 

Aureole, the one surrounding the person, the 

other the head, but while the authority is good, 

it seems to create confusion, for if they, the 

. . Nimbus and Aureole, each express glory, their 

ogr^phjX^25,vliAy^^ together could hardly be termed the glory, 

Didron. ' as a distinctive term. The necessity for the 

Nimbus, it might be said is past. There were 

forms of the Nimbus to represent the divine 

person, the saint, and the living. 

The ignorant, or those unable to read, were 

enabled by the shape or color of the Nimbus to 

tell what the symbol was intended to represent. 

The colors used were "blue, violet, red, yellow, 

or white, but yellow, the color of gold, has been 

esteemed the most precious, and costly and 

. frequently also the most radiant of all colours; 

ography! p!i6\voTi" gold' of which it is a type or imitation, was 

Didron. regarded as 'light consolidated." 

It will readily appear why gold or yellow is 
used for the Nimbus in all art of to-day. The 
Cross in the Nimbus designates the Second Per- 
son of the Trinity. There was a time, when in 
art, it seems to have been used for all three of 
the Persons of the Trinity. This, however, did 
not permit of the same accuracy of significance 
that prevails, as, when it is reserved to the 
Second Person of the Trinity, or the symbols of 
Christ. 

LAMPS. 

At this point in Symbolism of Form, it might 
be well to refer to the early use of lamps, which, 
if not symbols in themselves, were adorned 



In Christian Symbolism. 59 

frequently by the Christians with Symbols of 
the Faith, a custom sanctioned and directed by 
Clement of Alexandria. The remains of Pom- 
peii testify to the fact that the Pagans orna- 
mented all their articles, more or less, with such 
devices as served to reflect their religion. The 
early Christians imitated this custom by sub- 
stituting for their Pagan designs, symbols of ^^^°^^^[^'""^^t^**^^y 
the Christian religion, Clement of Alexandria a. c. coxe, d. d., p. 
in "The Instructor" cautions the early Chris- 247. 
tians against the use of costly vessels, and says 
regarding the ornamentation, "in fine, in food, 
and clothes, and vessels, and everything else 
belonging to the house, I say comprehensively, 
that one must follow the institutions of the 
Christian man, as is serviceable and suitable to 
one's person, age, pursuits, time of life. For 
it becomes those that are servants of one God, 
that their possessions and furniture should 
exhibit the tokens of one beautiful life; and 
that each individually should be seen in faith, 
which shows no difference, practicing all other 
things which are conformable to this uniform 
mode of life, and harmonious with this one Ante-Nicene Fath- 
scheme. " In the "Elucidations" of this para- ^^'(T'ji'^^g j^°^^ ^ 
graph Bishop Coxe says "This fine paragraph 297. 
is in many ways interesting. The tourist who 
has visited the Catacombs, is familiar, among 
tokens of the first rude art of Christiasn, with 
relics of various articles, realizing this idea of 
Clement's that even our furniture should be 
distinctly Christian, In Pompeii, one finds 
lamps and other vessels marked by heathenish 
devices, some of them gross and revolting. On 
the contrary, these Christian utensils bear the 
sacred monograms X, P. , A, O, or the figure 
of the fish, conveying to the user, by the 
letters of the Greek word for fish, the initials 
of the words 'Jesus Christ, Son of God, the 
Saviour.' Often we have the Anchor, the 



60 An Anglican Study 

Palm-branch, or the Cross itself. But I never 
looked at one of those Christian lamps without 
imagining its owner, singing, as it was lighted, 
the evening hymn, and reciting probably, 
Ante-Nicene Fath- therewith, thc tcxt, 'Let your loins be girded, 

ers, Vol. 2. Notes by -, \ r ' • ,i, ^i • • ^i v 

A c coxe D D • ^^^ your lamps burning. This is the hymn 

298. ' ' that Bishop Coxe refers to. 

"Its proper name is 'The Eventide Hymn' 
or 'The Hymn for the Lighting of the Lamps,* 
and was doubtless uttered in the family at 'Can- 
dlelight' as we say grace before meat." 

"HYMN." 

"Serene light of the Holy Glory of the Father Everlasting, 
Jesus Christ: 
Having come to the setting of the sun, 
And seeing the evening light, 

We praise the Father and the Son, 
And the holy spirit of God. 
It behooveth to praise Thee, 

At all times with holy songs. 
Son of God, who hast given life; 
Therefore the world glorifieth Thee." 

In the time of the Apostles and later, ser- 
vices were held in the evening and vigils lasted 
through the night, the Eucharist celebrated in 
the morning, hence the early use of lamps; 
"and these lights seem from the earliest times 
to have been regarded as having a symbolical 
meaning. Christ called Himself the Light of 
the World ; St. Simeon called Him the Light 
to Lighten the Gentiles; one of the names 
applied to baptism was illuininatio\ again, oil 
was one of the symbols of the Holy Spirit. 

This will account for the lamps being reck- 
oned among the sacred vessels of the churches, 
c"iltiln7rt?byTel^and f or ^ their being made of the precious 

EX. Cutts, D.D. p. 333. mCtals. 

"Clements regards the symbols of the divine 

Ante-Nicene Fath- , r 7 1 j ^ • • ^.v, 

ers. Elucidations by ^aw as sy7nbols merely, and not i77iages m t\i^ 
A. c. Coxe, D.D.,p.477. sense of the decalogue." 



In Christian Symbolism. 61 

It is not the purpose of these lectures to 
prove an exhaustive research on these subjects, 
that must come from a continuance of study; 
these statements will serve to show the general 
trend of the subject, and point out, if possible, that 
better form of symbolism that to-day prevails 
in the Anglican Church. 

Surely this question of Symbolism in the 
Christian church is one to be dwelt upon with 
care, reverence, and dread. 

With care that the Symbols are true, and 
accepted representations of spiritual truths. 

With reverence that the Symbol may be for- 
gotten in its spiritual significance. 

With dread, lest the Symbol be exalted above 
its significance, and become an image. 

"In the primitive church it was so practically 
understood as not to need statement, that 
images in painting or carving, made for the 
sake of conveying instruction, are an entirely 
different thing from images intended for use in 
prayer."' 

"In the Middle Ages, the cross, from being in 
the sixth century the symbol of Christ's person, 
became an object of worship in itself, no longer 
an emblem of the life and death of God for p^^^ Dictionary of 

man. christian Antiquities 

As a summary of Symbolism of Form, what 
may be stated? 

That it has been found necessary to express 
a distinction in the idea conveyed by the g:en- 
eral term symbol, and for this purpose the term 
Super Symbol has been adopted. Super Symbol 
being one, that by long and definite use has 
-grown to express but one idea. 

The Symbols referring to the three Persons 
of the Blessed Trinity, as observed in the 
Anglican Church, have been reviewed, noting 
the difference between the Symbols and Super 
Symbols. To which has been added a brief 



62 An Anglican Study 

description of Nimbus and Aureole, as attrib- 
utes of glory used with the symbols. 

What does all this mean to the churchman? 
Does it lead him away from Christ, and His 
loving sacrifice for all? If so, it is wrong; but 
what says the able divine. Rev. Edward L. 
Cutts, D.D. ? "There is nothing in the history 
of early Christian art to discourage us, but 
rather the contrary, from frankly and fully 
using the arts in the service of religion. The 
aesthetic side of our nature, which recognizes 
the noblest aspect of things in the actual world 
and in ordinary life, and deals with human 
aspirations and ideals, is akin to the religious 
sentiment. Our English religion has long been 
cold and unlovely, to a degree which ought not 
to exist in a true representation of Christianity, 
not only by reason of some popular doctrines 
not really belonging to it which shock the 

ch^/stilnArt°by^'^L'^^^^^' but also owing to its repression of the 

Cutts,D.D., pp.363-364. imagination and taste. ' ' 



SYMBOLISM OF COLOR. 

Chapter IV. 

Definitions as to the Meaning of the Different Colors 
— Brief Reference to the Colors as Used in the Greek 
and Armenian Churches — Difficulty of Comparing 
Modern Shades With the Ancient — Colors Used by the 
Anglican Church — The "Sarum Use" — "Comparative 
Table of Liturgical Colours" — "Table of Colours Ac- 
cording to the 'Sarum Use.' " 

The secoad division of the subject of Sym- 
bolism is now reached, and color is to be con- 
sidered, as one of the fivefold modes laid down, on 
entering upon this study. 

What is color? 

That question must be left to the scientist to 
answer. 

The individual, however, can realize the 
privileges he may possess, by comparison with 
those less fortunate. Think of v/hat a world is 
opened to one who can see, and appreciate 
color, as compared with Helen Keller, for in- 
stance, to whom such power is wanting. Then 
consider those who see, yet are unable to dis- 
cern the difference in color, how far greater are 
your privileges than theirs, in so much more 
are you responsible for the use of your talents. 
In an interesting address before a literary soci- 
ety of Baltimore, a talented woman, a Ph. -D. 
of Johns Hopkins University, gave facts regard- 
ing the inability to discern color as brought 
forth, in her careful study of the subject with 
able professors in Germany. She stated that 
people were born with such defective vision, 
and again it was the result of accident or 



64 An Anglican Study 

disease; from other of her statements, your 
lecturer was led at the close of her remarks to 
ask her if this loss of power to discern color was 
the result of disease or accident, how was it 
brought about, could it be sudden? She replied 
"Yes, in a moment the power may be lost, and 
no apparent reason can be given." It is only 
necessary to state that the study of the eye, 
was her specialty, to realize the weight of what 
she said. 

In the mere matter of color signals, what 
danger all are in, lest, for instance, an employee 
of a railroad, who has been duly examined as to 
color blindness, and found to possess perfect 
vision, suddenly lose his power to detect color, 
and wholly unknown to himself, he interpret a 
signal wrong. The catastrophe that follows 
would hardly be of his making. But what of 
all this for the subject in hand? To convince all 
of the importance of realizing the gift of talents 
each one possesses, and then using them to the 
best advantage, for God's glory. 

"Colours had the Same signification amongst 
Fairhoit, in Diction- jj ^^^.^^g of rcmotcst antiquity. Colour was 

ary of terms in Art, . _ ^ / . . 

states on p. 125. evidently the first mode or transmittmg 

thought and preserving memory; to each colour 
appertained a religious or political idea. The 
history of symbolic colours testifies to a triple 
origin marked by the three epochs in the his- 
tory of religion — the Divine — the Consecrated — 
and the Profane. 

The first regulated the costume of Aaron and 
the Levites, the rites of worship, etc., religion 
gave births to the arts. It was to ornament 
temples that sculpture and painting were first 
introduced, whence arose the consecrated 
language. The theocratic era (government 
under God) lasts to the Renaissance^ (beginning 
of sixteenth century). At this epoch symbolic 
expression is extinct; the divine language of 



In Christian Symbolism. 65 

colours is forgotten ; painting becomes^an art, 
and is no longer a science. 

The Profane, the aristocratic era commences, 
symbolism banished from the church,^ takes 
refuge at court; disdained by painting, it is 
found again in heraldry. The Profane language 
of colours was a degradation from the Divine 
andConsecrated languages." (Note) "This 
subject is amply and ingeniously illustrated in 
Portal's Essay on Symbolic Colours. Trans- 
lated by Inman, London 1849." 

The same authority gives the list of primi- Dictionary of terms 
tive Colors which we all know, viz. in An, Fairhoit, p.124. 

Red, 
Yellow, 
Blue. 
It is not necessary to go into details of form- 
ing the complementary colors. 

The most that can be done in this study of 

the symbolism of color, is to give different 

authorities, for there can be no positive and 

universal system, discovered, or adopted; a 

best way may, however, be deduced from them 

all. Thus Fairholt, in "Dictionary of Terms 

in Art," before referred to, gives the following; 

"Green: Faith, immortality, contemplation, 

and typical of the resurrection of the 

just, as shadowed by spring after winter. 

Blue : Hope, love of Divine works. 

Red : Martyrdom for faith ; and also charity. 

Purple: Dignity of justice; color of royalty. 

Scarlet: About the 'same as red, but might 

signify witnesses to the church. 
White: Purity, temperance, innocence, 

chastity, and faith in God. 
Pale Blue: Peace, Christian prudence, love 

of good works, a serene conscience. 
Pale Green: Baptism. 

Rose color: 'Indicates martyrdom through 
the mystic sense attached to the flower.* 



66 An Anglican Study 

Saffron : The confessors. 

For background to figures of Saints, to 
typify their Hves or actions, were used as 
follows : 

White: Chastity. 

Grey: Tribulation. 

Violet: Penitence, used also for their clothing 
to symbolize their lives. 

IN THE CHURCH. 

Blue: Divine contemplation, piety, sincerity. 

Green : Gladness of the faithtul. 

Red; Divine love. 

White: Innocence and purity. " 

"Gold: Glory and power. 

Silver: Chastity and purity. 

Gems. 

Diamond: Invulnerable faith. 
Sapphire: Hope. 
Onyx: Sincerity. 
Amethyst: Humility." 

"White has ever been accepted as symbolic 
Symbolism in Chris- of innoccnce of soul of purity of thought, of 

tian Art, Hulme, p. 16. holinCSS of life. ' ' 

It is Stated by one authority often quoted in 
these papers, that "in the Middle Ages white 
was the general Lenten Colour; not from its 
association, however, with the idea of rejoicing 
or of purity. Its use probably arose from the 
custom of covering the Altars, reredoses, etc., 
during Lent with white cloths, as signifying the 
Symbolism in Chris- absence or veiling of all colour; and thus 
tian Art, Hulme, p. 17. j.gg2^j.(^g(j^ its usc during Lent is neither un- 
seemly nor inconsistent." 

All of the rays of light are found reflected, in 

White; while Black absorbs all the rays. The 

Didron's Christian former may be said to have none of the colors. 

Iconography, Vol. 1, ^j^^jg black rctains them all. 

p. 462. ootnote. ''According to some early writers on symbol- 



In Christian Symbolism. 67 

ism, every virtue had its own emblematic 
colour, and white, the colour of light, being, as 
we are told by writers on optics, produced by 
the blending or combination of all the seven 
prismatic hues, is with peculiar propriety em- 
ployed as symbolic of that union of every virtue 
with the most exalted intelligence, which 
exists in the person of the Holy Ghost. 
Translator. ' ' 

White "is used at all Feasts and at all sea- 
sons relating to the Lord that are not associ- Symbolism in chris- 
ated with suffering." In China white is used *'^"^'"'^'^'^^'"^'P- i''- 

as the color for mourning. Symbolism in Chris- 

In reference to the use of colors in the'^'^" '^'■^' ^'^^'"^' p- ^^• 
churches, the following item shows the great 
diversity, "Directly, however, we look into the 
matter and refer to the 'Uses' of the various 
dioceses, we are struck with the difference in 
practice. Thus while white is held to be the 
appropriate colour for Trinity Sunday in 
Rome, Milan, Troyes, Sens, Auxerre, Rouen, 
and LyoQS, we find Green in use at Rheims, 
and Exeter, Yellow at Poictiers, Blue at Toledo, 
Violet at Soissons, Red at Laon, Coutance, 
Wells, and Cologne. All these colours have 
their legitimate and appropriate meaning, 
White, for instance, typifying the spotless dig- 
nity of the Godhead, while the Violet, very 
sparingly found, characterizes the obscurity of 
the mysterv of the Divine Trinity; but the „ , ,. • ^, ■ 

^ ■'. .r ■ - ., .-^ ' Symbolism in Chns- 

divergence from unitormity is striking. uan Art, Huime, p. 20. 

"In the Greek Church, according to the 
*Enchologion' of Goar, published at Paris in 
the year 1G47, only two colours were in use, 
purple for the Lenten and other fasting days, SymboHsm in chris- 
and white for all other occasions." tian Art, Haime, p, 19. 

The following is taken from "The Church- 
man" of July 10th, 1897, page 40, under the 
heading "The English Church" items of inter- 
est from England, chiefly referring to the 



68 An Anglican Study 

many Bishops in attendance at the Pan-Angli- 
can Synod (the Lambeth Conference). From 
the description of the Cope of the Bishop of the 
Grseco-Russian Church, it would seem that 
they add red and gold to the colors of the Greek 
Church, which, as has been referred to, con- 
sisted of purple and white. 

"But not only were Anglo-Saxon bishops from 
the West in evidence, but a very interesting 
delegate from the Grseco-Russian Church, the 
most reverend Antonias, Lord Archbishop of 
Finland, officially appointed to represent the 
Holy Synod of the Russian Orthodox Church 
at the Queen's Jubilee. The archbishop was 
received with many addresses, both civil and 
ecclesiastical. He was present at the great 
jubilee service in St. Paul's, and his appearance 
created a mild sensation. He wore the vest- 
ment known in the East as the mantia, which 
is the episcopal cope made of purple silk, with 
stripes of white and red running through it, 
and with four large squares of red velvet edged 
and embroidered with cloth of gold in front, 
which take the place of the Western orphreys. 
Two of these are at the top and two at the 
foot. The latter as well as the former are 
buttoned together." 
Symbolism in Chris- " Amongst the Armenians there are no special 

tian Art, Huime, p. 19. colours iu usc. " Red whcu uscd as an ecclesi- 
symboiism in Chris- astical color, dcuotes ardent love, and "a burn- 

tian Art, Huime, p. 21. ing zcal for the faith." It is "used for 
Symbolism in Chris- feasts of Martyrs, and at Whitsuntide." Red, 

tian Art, Huime, p. 21. Purple, Violct, and Black are all found as used 
for Good Friday, with a "majority of the Old 
inventories giving red or purple." 

It will be of interest to note here that a rector 
of a church in America, in reply to a letter re- 
lating to color, stated that in his church (where 
the "Sarum Use" is used with slight modifica- 
tion), "red is the penitential color, purple is 
worked into the embroidery." 



In Christian Symbolism. 69 

Red, vScarlet, and Crimson are Confused, and 
confusing names. It is most difficult to deter- 
mine what they anciently represented, partly 
on account of the terms used, and from the 
fact that time has wrought many changes in 
the colors of paintings and embroideries. 

Red is conspicuous in the marriage service of „ ... . ^,. 

r fc. Symbolism in Chns- 

the Chmese, and nve colors are used symbol- tiau Art, Huime, p. 23. 
ically among them thus: 

"Red is appointed to fire, and corresponds 

with the South; 
Black belongs to water, and corresponds 

with the North ; 
Green belongs to wood, and signifies the 

East; 
White to metal, and refers to the mist" (west?) symbolism in chris- 
" Yellow is apportioned to the earth. " It is tian Art, Huime, p. 23. 
not known what led to this division of color 
among the Chinese, but it is stated that it has 
been observed for over 1,000 years before symbolism in chris- 

Christ. tian Art, Huime, p. 23. 

Of the two terms Scarlet and Crimson to 
express Red, Scarlet is usually used in Scripture, 
Purple is often confused with both, to illustrate 
the difference that probably prevailed, St. 
Matthew in speaking of the Robe put upon our st. Matthew, 27:28. 
Saviour, called it a Scarlet Robe, and St. John st. John, i9:2. 
terms it Purple. In Ecclesiastical work. Crim- 
son is more generally emploved, Scarlet not J\f^^ ^"^""'' ^^ 

ui J- 11 u ■ ^ n " T~s T> 1 the Very Rev. Daniel 

blendmg well, bemg too fiery. Dr. Rock rq^.^^ d, d Edt. by 

states, Wm.Maskell,pp.75-76. 

"Tarsus colour is often mentioned ; and it was 
probably, some shade of purple. The people of 
Tarsus no doubt got from their Murex, a shell- 
fish of the class MoUusca and Purpurifera 
family to be found on their coast, their dying 
matter ; and when we remember what changes 
are wrought in the animal itself by the food it 
eats, and what strong effects are made by 
slight variations in climate, even atmosphere, 



70 An Anglican Study 

upon materials for colouring in the moment of 
application, we may easily understand how the 
difference arose between the two tints of pur- 
ple," that spoken of as "Samit dyed in a pur- 
ple somewhat bordering on a blood-red tone," 
but alas, how can the col9rist of to-day know 
just what those shades were, or ever hope to 
imitate them? Dr. Rock, in the references just 
quoted, is speaking of colors about the time of 
the thirteenth century. The "Cloth of Tarsus" 
often referred to. Dr. Rock states "was of a 
rare and costly kind of fine goats hair and silk. 
The tint was some shade of royal purple." 
"Other cities besides Tarsus gave their names 
to various shades of purple ; according as they 
were dyed at Antioch, Alexandria, or Naples. 
Each had a particular shade which dis- 
tinguished it from the others. It is not now 
possible to ascertain what were the exact dis- 
tinctions of tint." 

"We speak of the so-called purple — under 

Church Vestments— which denomination came blood-red, crimson, 

their Origin, Use, and gcarlct, aud, without doubt, the shade we now 

Ornament, by Anas- j • , i a • ±. j^- 

tasia Dolby, London, designate as rosc-purplc. A very mterestmg 
1868, p. 4-5. record relating to the ancient imperial purple is 

embodied thus: — Three hundred and thirty- 
one years before Christ, Alexander possessing 
himself of the city of Susa, with all its riches, 
took from it five thousand quintals of the highly- 
prized Hermione purple, which, although 
stored there for one hundred and ninety years, 
was without a blemish when it fell into the con- 
queror's hands. The value of this wonderful 
colour was equivalent to one hundred crowns a 
pound ; and, as a quintal was one hundred and 
twelve pounds, we may estimate the amount of 
wealth contained in this dye alone, as something 
scarcely short of the fabulous. Among the 
ancients, we find Greeks, as well as Romans, 
holding the Tyrian purple in like esteem. 



In Christian Symbolism. 71 

Homer fails not to tell us that Andromache 
wrought in her lofty chamber on a cloth of 
resplendent purple hue at the moment when 
mournful cries apprised her of the death of 
Hector. And the Roman Tarquin received 
from the Etruscans a purple tunic enriched 
with gold, and a mantle of purple and other 
colours. ' ' 

Blue "taken to represent eternity, faith, 
fidelity, truth, spotless reputation." It was 
one of the five mystic colors given by God to Symbolism in chris- 

,, •' o J tian Art.Hulme, p. 26. 

Moses. 

"Sky blue was a colour everywhere in From Textile Fab- 
church use for certain festivals throughout '^^'^^' ^ ^' °^ '^• 
England. In the early inventories the name 
for that tint is 'Indicus, ' 'Indus' reminding 
us of our present indigo. In later lists it is 
called 'Blodius, ' not sanguinary but blue." 
How unconsciously in this quotation Dr. Rock 
is testifying to the ancient use of Sarum. 

A clergyman of the American Church writes 
thus, "Blue is used, when the Roman sequence 
uses green. 

A blue stole brings a priest into conformity 
with our Lord who wore a "riband of blue" 
in accordance with divine command (Numbers 
15 :38. ) This the Levites wore as the livery of 
heaven." 

Purple, the sign of imperial power, an ex- 
planation of this may be found in the fact, that 
the Tyrian dye made from the shell-fish pro- 
duced the most beautiful of colors, in ancient symbolism in chris- 
times, and the garments manufactured by the tian Art, Haime, p. 27. 
Phoenicians were pre-eminently beautiful, this 
preference of purple as a color denoting superi- 
ority, gives purple to the Bishops in the 
Anglican Church. The general Ecclesiastical .^^'T^^'ir/'' ^^"97" 
significance of purple or violet, is that of peni- 
tence or fasting" ; this shade of purple or violet 



72 An Anglican Study 

should, however, differ from the Royal purple 

used for the Bishops in the church. 

Symbolism in Chris- Gray was sometimes uscd in place of purple 

tian Art, Huime, p.27. in Lent, OH the Continent more especially, which 

note, as in England it did not seem to prevail. 

"Black, suggestive of the material darkness 

and gloom that follows the withdrawal of the 

cheering light of day, is meet symbol of the 

Symbolism in Chris- spii-itual darkness of the soul unillumined by 

tian Art, Huime, p. 28. ^j^^ ^^^ ^£ righteousncss. " " Black was in the 

Middle Ages associated with witchcraft. It is 
naturally a type of darkness, and therefore the 
transition to moral darkness and dealing with 
familiar spirits is readily made; hence such 
incantations and invocations of diabolic power 
were naturally known as the Black Art. 
Symbolism in Chris- Almost all allusious to the colour have a touch 
tian Art, Huime, p. 29. of the disgusting element in them. ' ' With such 
significance how can Christians desire its use in 
the church even on Good Friday? Its intro- 
duction into the Church seems to have been in 
the sixth century. 

Green is associated with hope, because the 
color of spring time when everything is 
revived. The church color for Easter as for 
instance "at Salisbury, Paris, Toledo, Cologne, 

tia^^An HTime^p Ir ^^^ ^i^^^' ^^ whitc, " "at Soissons Cathedral wc 

^*° ' ' " ' find it replaced by Green." "Green in Mediae- 

symboiism in Chris- yal days was Ordinarily associated with the 

tian Art, Huime, p. 25. p^^g^ of the Trinity." Nouc of thcsc ideas 

which green symbolizes seem to account for its 

use in the Trinity season, unless that of the 

rejoicing of the faithful be accepted; being the 

See Roife's Ancient f ulucss of the Gospcl as Complete in the resur- 

Use of Liturgical Col- rcction, asccusion, and reunion of Christ in the 

m»:sjor B 1 a c k and q^^j^^^^ rpj^^ ^gg ^f G^een in the Church 

reen, pp. an . ^^.tes from about the eleventh century. 

Yellow has very widely different significance: 
when used to represent gold, in Ecclesiastical 



\ 



In Christian Symbolism. 73 

is correct, but otherwise it is best 
avoid its use, in materials at least. *'In 
France, during the sixteenth century, the 
doors of felons and traitors were painted 
yellow; and in some countries the Jews were 
required to wear yellow, because they denied 
the Messiah." * * "Judas is often repre- 
sented in old glass painting in a yellow robe " 
* * but "when represented by gold, or is a 
substitute for it, it signifies love, constancy, symbolism in chris- 
dignity, wisdom. ' ' tian Art, p. 21. 

Gold was one of the five mystic colors of the 
law, given by God to Moses. 

The primary colors, by another authority, 
are said to be united, good emblems of the 
Trinity, thus 

"Red signifying Divine love, church Decoration 

Blue truth and constancy, by a Practical Illustra- 

Gold or yellow Divine Glory." t^''- 

It has been shown that the Greek Church 
uses symbolically but two colors, unless the 
reference to the Cope worn by the Gragco- 
Russian Prelate, at the Lambeth Conference 
in 1897, indicates more, and the Armenian have 
no special colors. In the Roman Church, the 
symbolic use of colors, is that known as the 
"Roman Sequence, " consisting of five colors, 
as the number originally given by God, but as 
follows. White, Red, Violet, Green and Black. 
. The Anglican Church follows largely this 
*' Roman Sequence" in its use of colors. 

To the Anglican Church, however, has been 
permitted the greater privilege of perpetuating 
the Divine command given to Moses, of the 
symbolic use of the five colors, viz., White, Red, 
Blue, Violet, Gold, which are found in what is 
known as the Sarum "Use." 

It is true that her whole communion never 



74 An Anglican Study 

followed this "Use," but it is enough to show, 
that throughout all the ages from Moses to the 
present day, there has always been a remnant 
faithful to the use of these colors. Among 
Christians, that faithful remnant has been in 
the Anglican Church alone. None of the other 
churches can show such record. 
Ancient Use of Li- ^'YV^^^t a grand thought it is, that from the 

turgical Colours, by , . P ^ . ^ Y . ' . , , 

c.c.Roife, p. 3. earliest period of her history, right up to the 
times of the Reformation, aye, and in the ear- 
lier years of the Reformation, our English 
branch of the Catholic Church maintained in her 
system the five true sacrificial colours of the one 
true church of God upon earth." 
, . ,^ ^ ^ . Per contra, the following might be quoted, 

A.GciGnt Use ol Li- o cs x ? 

turgical Colours, by which is fully explained by subsequent quota- 

C. C. Rolfe, p. 6. tions. 

"The late Mediaeval use of colours became 
much disorganized. The five true colours con- 
tinued indeed to be used, but in addition to 
them, various other colours, and combinations 
of colours, crept into use. Innovations grad- 
ually crept into the Sarum ritual ; other Eng- 
lish uses suffered in like degree; and in this 
respect, as in others, the late Mediaeval Church 
of England became overladen with ritual and 
corrupt. There was need of a Reformation ; 
but the true work of reformation has never yet 
been thoroughly accomplished. Those, nowa- 
days, who use incongruous colours for the vest- 
ments of priest or altar, are simply perpet- 
J' uating the errors of the late Mediaeval church. 

The early Reformation use follows next in 
order. We find from old existing inventories, 
that the five mystic colours of the law, gold, 
blue, purple, red and white, — were still used for 
sacrificial vestments in A. D. 1548, 'second 
year of the reign of King Edward VI. ' Con- 
sequently, their use is right and lawful now in 
every sense of the word, in the Reformed 
Church of England." 



In Christian Symbolism. 75 

"As the Book of Common Prayer is mamly Ancient Use of jj- 
based upon the lines of the old Sarum use, turgicai colours, by 
(vide Ann.Bk.of Com. Pray.) it cannot be ^- "^^^ ^°'^"' p- ^^^• 
disloyal to the Reformed Church of England to 
advocate a return to it, with regard to the use 
of coloured liturgical vestments. There is noth- 
ing in the old Sarum use which is not in accord- 
ance with the ornainents rubric of our prayer 
book ; nothing, but what was in vogue at that 
particular period to which the rubric points." 

"From the days of St. John the Divine to the Ancient Use of Li- 
early years of the English Reformation— the J?;g;'^'^^^^°p°;2 ^^ 
period to which the 'ornaments rubric' in our 
Book of Common Prayer points — there are indi- 
cations that the same five mystic colours were 
in vogue, as in the Levitical Church of Old." 

To prove that the "ornaments rubric" should 
govern to-day, it is stated "The ornaments Ancient Use of Li- 
rubric in the Book of Common Prayer is clear c "^c^ Roife° °202 ^ 
enough. It is an easy matter to find out what 
has, and has not, the authority of the Church « • , tt <• t • 

' .' •' 11 Ancient Use of Li- 

of England, with regard to the sacerdotal turgicai Colours, by 

dress." * * ^ "directs (the or7ta?nents c.c.u.o\ie,^&. 

rubric) that the ecclesiastical dress shall be 

retained, which was in use in the second year 

of the reign of King Edward VI." Therefore, 

as the prayer book of to-day is founded upon 

that of King Edward VI., its order for use of 

colors, is as much in force, now as then, 

though every diocese might have disregarded 

its instruction. The reference might seem 

to indicate that even Sarum had departed for a 

time from the use of the five mystic colors, 

only, but that inference, it. would be difficult to 

prove. ^ ^ The Annotated Book 

For explanation of "ornaments rubrics" see of common Prayer, 
"Section III, The Accessories of Divine Ser-by Rev. j. h. Biunt 

vice, by Rev. T. VV Perry, pages 65-81," and ^'^^^"^5'°°^;^^°^^^^' 
-page 159, No. a, "The Dress of the Celebrant. " br^Je, m2, s^xTh 

Also page 587, No 6, "Ecclesiastical Vestments. " edt. 



76 An Anglican Study 

The Annotated Book j|- jg ^ noticcable fact ill this digest of the 
by RerT'^H BhTnt "^^^^^'*' ^Y ^^^ annotated book of common 
Rivingtons, London, prayer, that the writer clearly states the 
Oxford and Cam- authority of the "ornaments rubrics, " of the 
bridge, 1872, sixth gecond year of the reign of King Edward VI. 
^^^" ^' ^^' He refers to the same as being based upon the 

The Annotated Book Liturgies of Bangor, Hereford, and York, com- 
of Common Prayer, p^red With the Salisbury Missal, which was 
by Rev. J. H Blunt -^^^ ^^^ preference. He fails to go deep 

Rivmgtons, London, » i«ir^i-i r^ r 

Oxford and Cam- ^nough into the Salisbury, or Sarum use of 
bridge, 1872, sixth colors, to explain his reference, on page 78, 
«<^t-'P-'2. where Red, White and Blue, "as especially 

accounted the colours of England" are asso- 
ciated with the navy, in place of realizinof the 
ancient use of the "fiv® mystic colours of the 
Law," which embrace these three colours, with 
Violet, or Purple which he omits on page 78, 
but gives on page 79, these with the Gold, 
always used for the priest make up the "Mystic 
colours," 

RED, WHITE, BLUE, PURPLE, GOLD. 

The failure in Blunt's Annotated Book of 
Common Prayer, in the article above noted, 
to prove by direct statement, the use of the 
"five mystic colours of the Law" as being those 
used by Sarum, yet unconsciously strengthens 
the fact, by the references above cited. Thus 
serving to prove the truth of the authority 
before quoted in this lecture (C. C, Rolfe), 
who has gone deeper into the study of the 
Sarum colors. 

The compiler of Blunt's Annotated Book of 
Common Prayer, on page 79, refers to the preva- 
lenca of Red in the Ancient Church of England 
service, and hints "to some written or un- 
written rule," is not that "unwritten rule" the 
Sarum use of the "five mystic colours of the 
Law"? 



In Christian Symbolism. 77 

To say there is no weight to the argument 
that tries to prove the use of the same colors 
from Moses to the present day, because all the 
Dioceses of the Anglican Church have not 
observed it, is contrary to the evidences 
throughout scripture, where it is constantly 
proved, that a few are left, that have proved 
faithful to God's command. 

As Anglican Churchmen, how truly should 
be prized the heritage bequeathed to the Church. 
The statement is made as an argument against 
a return to the Sarum "Use," that it is so 
difficult to understand, the laws governing its 
application not being fully understood, but will 
this argument hold? Should not a more careful 
study be made of a matter that God thought of 
sufficient importance to give a Divine command 
for which was followed by His people? Though 
the Veil of the Temple was rent in twain, by 
the coming and death of Christ, yet He came 
not to destroy, but to fulfill the Law. 

Having in this lecture touched briefly upon 
the symbolism of colors, in general, and the 
Greek, Armenian, and Roman Churches, in 
their use of colors, a more detailed study will 
be given to the Anglican, or Sarum "Use"; 
assuring the reader, that it cannot be a con- 
clusion of the matter. The question is ob- 
taining interest in England, and a discussion 
of the Liturgical colors is being dwelt upon in 
the Lincoln Diocesan Magazine. It is hoped 
what has seemed vague and uncertain, will ere 
long be plain and distinct so that all can follow, 
knowing and appreciating the reasons. 

There are clergymen in America who desire 
an American use of colors; but why multiply 
systems of symbolic significance, when God has 
already prescribed the proper use in his Temple, 
and the Church has had throughout all time a 
few faithful to the command? 



78 An Anglican Study 

To better understand the origin of the term 
Chambers' Encycio- " Sarum Use, " the following quotation regard- 
paedia, Vol. 8, p. 492. ing the old town of Sarum will be of value. 

"Sarum, old, an extinct city and borough 
of England, was situated on a hill two miles to 
the north of Salisbury, in Wiltshire. It dated 
from the time of the Romans, by whom it was 
known as Sorbiodumim^ and remained an im- 
portant town under the Saxons. A Witenage- 
mote was held at old Sarum in 960; (Witen- 
agemote, from Wite, a wise man and gemot, a 
meeting, assembly, a meeting of wise men; the 
national council or legislature of England in 
the days of the Anglo-Saxons, before the Con- 
quest), and here William the Conqueror assem- 
bled all the barons of his kingdom in 1086. It 
was the seat of a bishop from the reign of 
William the Conqueror till 1220, when the 
Cathedral was removed to New Sarum, now 
Salisbury, and was followed by most of the 
inhabitants. 

In Henry VII. 's time it was. almost wholly 
deserted, and has so continued till the present 
time. Some traces of walls and ramparts, and 
of its cathedral and castle, are still seen." 

Of symbolism of color, only a brief outline or 
suggestion, can be given in this lecture, of the 
depth of meaning it all has to the Anglican 
churchman, and on what debatable ground 
many think it stands. 

Older writers, those who have given time 
thought, and written books on the subject, 
must be the guides through the labyrinth of 
customs, that have come down to the Church, 
from different periods, and given meaning to 
the colors. 

That England, anciently Britain, was called 
in olden time "the Island of Saints," is not 
known by many, still fewer appreciate the 



In Christian Symbolism. 79 

reason for that appellation, which was the fact. Ancient use of Li- 

,^^, ,, ' turgical Colour?, by 

of Its great orthodoxy. c. c. Roife, p. i. 

The vestments in olden times, on the Island 
far surpassed those of the continent, as will 
more fully appear in this series when the Lec- 
ture on Embroidery is reached. 

The lack of uniformity that prevails in the 
use of colors seems owing to the fact that 
Churchmen do not look into the matter as did 
those of older times, when "all individual taste 
and fancy" were made subservient. "They 
went right to the fountain-head, and based 
their use of colours upon reason ; their reason 
upon authority; their authority upon Revela- Ancient Use of i.i- 

.• ft turgical Colours, by 

-r 11 1 1 1 • 1 . 1 C. C. Rolfe, p. 2. 

in the chart here presented, which is taken 
from an English work, by C. C. Rolfe, are 
shown the colors used in the Church of God 
from the time of Moses to the present day. 



80 An Anglican Study 

"A comparative table of the Liturgical 
colours which have been in use in various 
periods in the Church of God upon earth." 



Gold, Blue, Purple, Red, White. 

The Levitical use from time of Moses. 
Gold, Blue, Purple, Red, White. 

The Ancient British Use. 
Gold, Blue, Purple, Red, White. 

The Early Anglo-Saxon Use. (.7th Century.) 



Gold, Blue, Purple, Red, White. 

The Late Anglo-Saxon Use. (11th Century.) 
Gold, Blue, Purple, Red, White, Green, Black. 

The Early Mediaeval English Use. 
Gold, Blue, Purple, Red, White, Green, Black, 
Brown, Tawney, Murrey, Pink, Cheney. 
The Late Mediaeval English Use. U5th 
Century.) 



Gold, Blue, Purple, Red, White, Green, Black, 
Brown, Tawney, Murrey, Pink, Cheney. 
The English Use in Edward VI. 's Time. 
(1547.) 
Gold, Blue, Purple, Red, White. 

The English Use in Bishop Cosin's Time. 
(1603 circa 1668.) 

Red, White, Green, Black, Violet. 

The Modern Roman Sequence. 

From C. C. Rolfe's Work, with dates added. 



Tawney — Dull yellowish-brown color. 
Murrey — Dark red color. 



In Christian Symbolism. 81 

It will be observed that Gold, Blue, Purple, Red 
and White, the "five mystic colours of the law," 
were the only colors used from the time of the 
Levitical order to the time designated as the 
early mediaeval English use; when green and 
black were added. This brings it within the 
period when Roman supremacy prevailed. 
Glancing down through the remaining periods, 
it is observed that there was a period in the 
modern division, in which the English Church 
returned to the primitive colors, which was in 
Bishop Cosin's time, A. D. 1668. The last 
period, the Modern, and its last division, 
termed the Modern Roman Sequence, gives 
Red, White, Green, Black, Violet, with a notice- 
able blank in the column under the Gold, Blue 
and Purple of the division that just precedes 
this, the Modern Roman Sequence ; may it not 
be intentional in this chart to have left this 
blank, to show wherein the English Church has 
fallen into the error of using the Roman 
sequence, yet not being placed in the column 
directly under the older colors, would seem to 
indicate that they were not wholly superseded, 
by those of the Roman sequence. No church- 
man who has ever given study to this subject 
can feel other than regret that the Anglican 
Church, in this modern period, should again fall 
into customs of the Church of Rome, in the 
matter of the use of color, as it did in the mid- 
dle of the Mediaeval period. Just here it will 
be best to quote the words of Mr. Rolfe exactly 
as he refers to the Roman sequence. "Then 
again, the modern Church of Rome, in her .^t," cowt "i', 
sequence or Colours, is not orthodox. If we c. c. Roife, p. 3. 
apply the triple crucial test of reason, author- 
ity, and revelation to that use, it fails as 
regards the latter. The use of the five Roman 
colours, red, white, green, violet and black, is 
consistent enough, as regards reason, or com- 



82 An Anglican Study 

mon sense; it is also based upon as good 

authority, as aught that is comparatively 

modern can be; but there the matter rests. It 

is not supported by revelation; the ancient use 

of the Church of England was. That is the 

one great distinction to be drawn between the 

modern hyper developed use of the Church of 

Rome, and the ancient use of the Church of 

Ancient Use of Li. England. " In councction with this chart it is 

turgicai Colours, by wclj to bear iu mind, that the "early Sarum use 

c.c.Roife, p. 6. was only a development of the Anglo-Saxon. " 

The name Cheyney, as found on this chart, 

cannot, it seems, be definitely defined, it might 

be thought to refer to a changeable effect that 

prevailed in silks, of many years ago, which is 

strengthened by a reference by Dr. Rock to a 

variety of silk used in the sixteenth century 

known as "Marble Silk," there were vestments 

found of it in Old St. Paul. 

It is described as "having a weft of several 

colours so woven as to make the whole look like 

marble, stained with a variety of tints." This, 

tii^^F^b^d^s °b '^the ^^ statcs, had favor for some three centuries, 

Very Rev.' Daniel which would sccm f rom his further reference to 

Rock, D. D., New the matter, to have ended in the sixteenth 

York, 1876, p. 76. CCUtUry. 

The words Samit and Murex are sometimes 
met with, but to-day are not usual terms. 

Samit, is silk tafeta adorned with gold. 

Murex, refers to the purple fish, from which 
the Tyrian purple die was obtained, which 
probably gave the name Murrey. 

In reference to the colors in the time of 
Bishop Cosin, it is stated "we find from an old 
inventory, that the five mystic colours of the 
law, and these five colours only, were reintro- 
duced by Bishop Cosin in the vestments and 
hangings of the Auckland Chapel, Circa A. D. 
1668." 

"A trinity of accord is found to exist between 



In Christian Symbolism. 83 

the Bible, the ancient ritual use of colours of 

the Church of England, and nature, the \Mcr J^^'^^^^Zmc.c. 

as evinced in the color of wild flowers." Roife, p. 7. 

Speaking of a work, by F. Edward Hulme, 
F. L. S., on "Familiar Wild Flowers." Mr. 
Rolfe says, "writing simply as a naturalist, and 
stating facts rather than theories, he alludes 
only to 

Golden Yellow, and 
Blue, and 

Purple, and 

Red, and 

White, as the typical colours of our 
familiar wild flowers. 

Nature is true. The principles of Nature are 
much the same now as in the days of Moses. Ancient use of Lit- 
The colours of the wild flowers have undergone Qr&icai colors, by c.c. 
no material change since then. ' ' ^°^^^' pp- ^24, 225. 

It may be asked what does the word "Use" . ^, , ^ 

• r • 1 11 ^ The Church Cyclo- 

signify in church language? p^dia, by Benton. 

"Use, the different nations had differently 
arranged liturgies, following always the same 
great outlines, but varied to suit the tem- 
perament or the customs of the people among 
whom such was in use. * * * And the 
English prayer book has supplanted the many 
uses of the English Church before the Refor- 
mation, as those of Sarum, Hereford, Bangor, 
Lincoln, York, and Durham. Use, then, has 
a technical sense, meaning the liturgy in use in 
some particular church." Now what is the 
liturgical use of the English prayer book as to 
color? 

Let Mr. Rolfe speak again, "We find from 
old existing inventories, that the five mystic 
colours of the law, gold, blue, purple, red, and 
white, were still used for sacrificial vestments 
in A. D. 1548, 'the second year of the reign of 
King Edward VI,' consequently, their use is 



84 An Anglican Study 

right and lawful now^ in every sense of the 
word, in the Reformed Church of England." 
Ancient Use of Li- This observance of color in the church is 
c'^c^'RoifeV""' "^ known to us as the " Sarum Use," to dis- 
tinguish it from the modern Roman sequence, 
which is more frequently followed in the church 
in America and England. This Sarum 
Liturgy, you will have observed, was but one 
of several liturgies prevalent in England prior 
to the formation of the English prayer book, as 
of Lincoln, Durham, etc., but whether these 
different dioceses, in their liturgical use, fol- 
lowed the same line of colors, may or may not 
have been the case, the probabilities are that in 
the use of color they were more nearly alike in 
their liturgy, though it is stated, that the 
Sarum use was never universal. 

It is called the Sarum use, for the reason that 
the liturgy of the diocese of Salisbury (New 
Sarum) was "the leading use in England in the 
time of the Reformation." 

"In order to understand the origin of the 
"Sarum use," it must be borne in mind that the 
Church of England in Bishop Osmund's time 
was split up into two very hostile parties, the 
conquerors and the conquered ; divided more 
by race than religious sentiment. The sees and 
the posts of dignity were mostly held by the 
conquerors, or by those foreign churchmen 
whom they brought into the country; while 
the benefices were mostly filled with Anglo- 
Saxon churchmen. The difficulty was to pre- 
serve some sort of uniformity of divine service 
between these rivals, in the externals of 
religion, each of whom naturally clung to the 
ritual worship of their father land. Bishop 
Osmund appears to have been singled out to 
accomplish this difficult task. * * * From 
his position as Bishop of Salisbury he was much 
more fitted for the work than the Archbishop 



In Christian Symbolism. 85 

of Canterbury, or any bishop who held what Ancient use of li- 
may be termed the Abbatical See." turgicai colours, by 

"The coming of the foreign divines into Eng- ^- ^- ^^°^^^' p- ^^^• 
land" was "in A. D. 1066," being Normans, Ancient Use ofLi- 
of whom Bishop Osmund was one. Of him '"'^^'^^\,^°^°""' ^^ 

. , , . . V 1 • 1 T /• C. C. Rolf e, p. 107. 

It is said Archbishop Lanfrance appears to 
have singled out Bishop Osmund to accom- 
plish this work. For we read: Under his 
(Lanfrance) directions, also, the arrangement 
of the church offices, drawn up by Osmund, 
Bishop of Sarum, and afterwards known as 
that Secundum usu7n Sarum, was generally 
adopted throughout the south of England, 
thereby preventing the great variety of offices 
which every bishop and abbot had hitherto 
been allowed to introduce almost at pleasure. 
('Murray's Hand Book of the Cathedrals of 
Europe') The Sarum rite, therefore, was 
drawn up at the instigation of the primate, 
with a view to its general use in the southern, Ancient use of Li- 

r r^ ^, , , turgical Colours, by 

province of Canterbury. c. c. Roife, p. io9. 

The bishops of the mediaeval Church of Eng- 
land were of two classes, viz: "Those who 
held the office of an abbot in connection with 
the higher office of a bishop ; those who held ^ . ^ .. ^ t • 

, % e ^ • ^ 11 1 Ancient Use of Li- 

the office of bishop only, whose chapter was turgicai colours, by 
presided over by a dean and secular canons." c. c. Roife, p. no. 

The following in regard to the Sees of 
Mediaeval England in which the bishop was also 
an abbot, "Canterbury, Rochester, Win- 
chester, Ely, Norwich, Worcester, Durham, 
Carlisle." 

Sees of which there was a bishop with dean 
and secular canons, viz: "York, London, 
Salisbury, Exeter, Wells, Litchfield, Hereford, Ancient Use of li- 

/-M • 1 , 1 ' TXT ■, r\ T-^ • -, ^ -y rr turgical Colours, by 

Chichester, and m Wales, St. Davids, Landaft, c q B.o\ie, pp. no, 
Bangor, and St. Asaph." "In no instance m. 
does a bishop of the Mediaeval church of Eng- 
land appear to have drawn up a liturgical use 
who was an ex-officio abbot. This indicates 



86 An Anglican Study 

Ancient Use of Li- how suitable our mediasval liturgies were for 
turgicai Colours, by dioccsan usc ; and explains how it is we have no 
a c. Roife, pp. iio,^j^ ^g^ ^^ Canterbury, as of York." 

Bishop Osmund "composed a custom-book, 
Ti».,f^r Q„ J,1T!! ^*' which it is claimed became the Sarum Missal 

Uenton, barum use, p. \at-\ i»i •-i't-»«i 

679. (1085) A. D. which was revived in Bishop 

Cosin's time A. D. 1668. 

There seems to be such a vague idea of what 
the ' ' Sarum Use" is, that it may be well to gather 
a few facts that will render reference to it 
more intelligible; passing over the first two 
reasons for the use of five colors for sacrificial 
vestments, as quotations have shown that the 
Roman sequence, quite as well as the Anglo- 
Saxon use, meets the requirements of them 
both, viz: of Reason, and Authority, and tak- 
ing up the third and last. Revelation, find that 
in the Anglo-Saxon, or Sarum use, is Revela- 
tion alone fulfilled. To prove this turn to the 
28th chapter of the book of Exodus, verse 5, 
and what do you read? 

"And they shall take gold, and blue, and 
purple, and scarlet, and fine linen." You all 
know to what this chapter refers, the vest- 
ments of those set apart for the "Sacerdotal 
office." The command is repeated in the 6th, 
. . ^ rr r T • 8th and 15th verses. The linen is understood 

Ancient Use of Li- , . , , . i 1 1 /- 

turgicai Colours, by to be the whitc, thus making up the five 

c. c. Roife, pp. 9, 10. mystic colours of the law." Here God's will is 

found "clearly revealed" and ordained, so says 

the last verse of this 28th chapter of Exodus, 

as "a statute forever." That Moses fully 

carried out the command of God, refer to the 

39th chapter of Exodus. "Attention is called 

to the fact that the combination of the five 

A ■ u f L- s^^^^^ ^^ mystic colors was only used in the 

turgkir Colours, by vcsturc of the High Priest, and that the gold 

c. c. Roife, p. 11. was absent in the vesture of the priest : this Mr. 

Roife states, forms "the main distinction to be 

drawn between the use of colours under the old 



In Christian Symbolism. 87 

and new dispensations." The reason for the Ancient use of Li- 
use of gold by the priest of the "New Dispensa- t^^^gicai colours, by 
tion" is to be found in the words of the Vener- ' ' ° ^'P- 
able Bede "And also all vestments are made of 
gold and precious colours; because nothing 
base or mean ought to appear on the person of 
the priest, or in his work, but all he does, every 
word he speaks, and each thought he conceives, 
should be alike most splendid in the sight of 
men, and glorious to the eye of the inner con- 
science. From the gold, indeed, especially in 
the vesture of the priest, the knowledge of ^^f^^^'^j^'cYi'^^^^^^^ 
wisdom principally shines forth. " c. c. Roife, pp. 84, 85. 

In the vestments designated in Exodus, 
there is no mention of either green or black ; 
the omission has been referred to thus, "It is 
stated again, and again, as already pointed out, 
that such and such colours are to be used in 
making the sacrificial vestments for the Church ^^cient use of Li- 
ef God. In this case, therefore, omission would turgicai colours, by 
certainly appear to imply prohibition. " c. c. Roife, p. 12. 

"The mystic number five^ the number of the 
colours ordained by God for the sacrificial vest- 
ments of his church upon earth, is one of the 
most important of the symbolic numbers. In . • * tt * t • 

^ .J . ., . .„ Ancient Use 01 Li- 

the language or numerical symbolism it typifies turgicai colours, by 
^sacrifice.' " "It is worthy of note, that c. c. Roife, p. 15. 
although the Church of Rome has deviated 
from her early traditions as regards the actual 
colour of the vestments, she still retains the . . , tt r t • 

. - . . , ' - . Ancient Use of Li- 

orthodox number, in her modern sequence of turgicai colours, by 

colours. " C. C. Roife, p. 17. 

In regard to the use of black, as has been 
stated, it seems to have crept into use about . 
the sixth century, and green in the eleventh targ°icrrcoiour°s, by 

century. C. C. Roife, pp. 6O, 84. 

"The following table 'of colours' indicates 
the signification which appears to have been 
given to each colour in the Levitical Church, 
and in the Christian:" 



88 



An Anglican Study 



'* COLOUR. 


LEVITICAL. 


CHRISTIAN. 


Gold, 
Blue, 
Purple, 
Scarlet, 
White (linen). 


Splendor, 
The Air, 
The Sea, 
Fire, 
The Earth. 


Knowledge, 
Aspiration, 
Endurance, 
Charity, 
Abstinence. " 



Ancient Use of Li 
turgical Colours, by 
C. C. Rolf e, p. 211. 



Ancient Use of L 



turgical Colours, by iVIlSS3.1, 



In Speaking of the use of vestments for 
funerals, "it is not quite clear what the Old 
Sarum use was. One thing is certain, the 
black chasuble now used in the Church of 
Rome was discarded in the Ancient Church of 
England. The probability is that at the cele- 
bration the coloured vestments prescribed for 
the day were worn ; but that at the grave itself 
the officiating priest wore a blue cope over his 
white Alb or Surplice." * * * "The colour 
blue, which is the hue of heaven, typifies the 
'celestial happiness which awaits the faithful 
departed." 

It is stated by Mr. Rolfe, that "the compara- 
tive table of colours given in the Annotated 
Book of Common Prayer is not quite reliable 
as regards the old Sarum use. " * * "In the 
following table an effort has been made, by 
reference to extracts from the Old Salisbury 
MS., and from the sixteenth century Sarum 



to rectify some mistakes which 



c. c. 

208. 

Ancient Use of Li- 
turgical Colours, by 
C. C. Rolfe, pp. 208, 
209. 



Rolfe, pp. 207, occur in the table given in the Annotated Book 
of Common Prayer." 

Table of colours, according to Sarum Use, 

Advent Sunday - - - Red 

Sundays in Advent - - Red 

Ferials in Advent . . . Red 

Christmas Day - - - Red 

Sunday After Christmas - - Red 

The Circumcision - - - Red 

The Epiphany - - - - Red 

Sundays in the Epiphany-tide - Red 

Ferials in the Epiphany-tide - - Red 

Septuagesima Sunday - - Red 

Sundays till Easter-tide - - Red 

Ferials till Easter-tide - - Red 



In Christian Symbolism, 



Ash Wednesday ... Red 

Maundy Thursday - - Red 

Good Friday - - - - Red 

Holy Saturday - - - Red 

Easter Day . - - - White 

Sundays in Easter-tide - - White 

Ferials in Easter-tide - - - White 

Rogation Days - - - White 

Ascension Day ... White 

Ascension-tide - - - White 

Whitsunday - ... Red 

Trinity Sunday - - - Red 

Sundays in Trinity-tide - - Red 

Ferials in Trinity-tide - - Red 

Festivals of the Blessed Virgin Mary White 

Feast of St. John in Christmas-tide White 

Feast of the Holy Cross - - Red 

Feast of St. Michael and All Angels White 

Feast of Apostles not in Easter-tide Red 

Feast of Evangelists not in Easter-tide Red 

Feast of Martyrs not in Easter-tide - Red 

Feast of Confessors - - White 

Feast of Holy Innocents - - Red 

Feast of Virgins not Martyrs - White 

Dedication of a Church - - White " Ancient Use of Li- 

The same authority says "it is most devoutly turgicai colours, by 
to be hoped that the Ancient Sarum Use will ^•^- ^°^^^'P-209- 
not be misunderstood when red or white vest- 
ments are prescribed by it to mark this or that 
season it does not imply that only the one color 
or the other is to be worn by the priest. Such 
has never been the usage of the Church of Eng- 
land. Her use appears to have been, as in the 
Levitical Church, to enrich and beautify her 
sacerdotal vestments with embroidery worked 
in the mystic colours of the law." 

Thus as briefly as has seemed possible, in 
keepmg with the interest of the subject, have 
the extracts been made regarding the Symbol- 
ism of color in general, and of the Anglican 
Church in particular. 

The student is found confronted with an 
array of facts, that with time and study will 
modify and adjust present uses, as the primi- 
tive customs of the church are the better 
understood. 



SYMBOLISM OF NUMBERS. 

Chapter V. 

Reference to the Ancient Fathers — Modern Descrip- 
tion of the "Mystic Properties of Numbers" — Particular 
Reference to the Numbers 3, 5, 7, 8, 12 and 40 — Mention 
of Other Numbers and Their Significance. 

What majestic mystery is to be found in 
numbers? 

The symbolism of numbers in Scripture has 
been a theme for minds so deep and broad, 
that their writings cannot penetrate every- 
where; but a glimpse of their depth, it is well 
to consider through the numbers that have 
become familiar in the church to-day. 

The late Dr. Mahan gave to the subject 
abundant thought, which has given to the 
world his valuable writings relative to "Mystic 
Numbers." 

The first publication by Dr. Mahan, was only 
the first part of volume 2 of his works, under 
the title "Palmoni." 

The reason for the title is given in a refer- 
ence to Daniel 8:13, where in the margin "that 
certain saint" spoken of in the text is called 
Paimoni, or the "Palmoni, or the numberer of secrets, or the 
Numerals of Script- ^ondcrful numbcrcr. " 

ure, aproof of Inspira- ^ . t • ii-r^ i ' , i -r-^ •%. r ^ .i i 

tion. A free inquiry, ^^ ^^is Palmoui, Dr. Mahau thus spcaks 
edt., pub. 1863, p. 12. ' of his inquiry, "It is an examination of one 

little corner of a vast field of inquiry ; a field 

Paimoni, or the morc familiar to the early church than to 

TrH^roof of ifrira' ^^^^^^^^^^ ^^ ^^^ timcs— the great and fertile 

Ji"n.^Tfre°e inquiry', fi^^^ ^f thcSymbolism of Scripturc. " "Asa 

edt., pub. 1868, p. 66. divinc work differs from a human chiefly in 

those minutice which lie beneath the surface: 



In Christian Symbolism. 91 

* * * SO the early Christians argued, it 
must be with tne Divine World. * * * 
Hence to them the 'history' of the Bible was 
not mere history; its 'facts' not mere facts; 
its 'arithmetic' not mere arithmetic." 

"However we may explain it, certain num- 
erals in the scriptures, occur so often in connec- 
tion with certain classes of ideas, that we are 
naturally led to associate the one with the 
other. This is more or less admitted with 
regard to the numbers Seven, Twelve^ Forty ^ Paimoni, or the 
Seventy^ and it may be a few more. The ^'^'"^'^^^^ °^ ?>cr\y\.. 
Fathers were disposed to admit it with regard ^""5^^^^^°°^°^ .°^^*/^" 
to many others, and to see in it the marks of a edt., pub. ises, pp! 
supernatural design. ' ' 66, 67. 

J. H. H. Jr., the editor of the later work of 
Dr. Milo Mahan on Numbers, and his constant 
companion for many years, writes thus, in his 
preface to the "Mystic Numbers (M. Mahan, 
D.D., author of 'Palmoni; a proof of inspira- ^^^^^^^f J,^^-^^^^^^^^ 

tion. ") edt. of 1875. 

"My father, the late Bishop of Vermont, 
|i often said, that this discovery of Dr. Mahan's 
was the greatest that had ever been made of in- 
ternal proof of the divine origin of the very 
text of the Hebrew and Greek scriptures." 
References will be made to this work of Dr. 
Mahan, as this lecture continues. 

That care is necessary lest too much time n^. x. r^ ^ a- 

. -' /• 1 Church Uyclopsedia, 

and thought be given to the mystery of the by Benton, paffe 524, 
numbers in scripture, let another author speak, under Numerals. 

"In Holy Scripture there are certain recur- 
ring numbers, either integrally or as factors of 
larger numbers, as three, seven, ten, thirteen, 
forty, fifty and seventy. The recurrence of 
these, and the fact that the periods assigned in 
many prophecies are products of such factors, 
have led many early interpreters to put a good 
deal of stress upon the numbers and the 'arith- 
metic' of scripture. It must be freely con- 



92 An Anglican Study 

ceded that the prophetic cycles do have a 
roundness that shows a purpose, that seven is 
used mystically, as also forty, and that the 
seventy weeks of Daniel's prophecy do repre- 
sent a period which accurately included the 
midst of the week when the Messiah was cut 
off, and was terminated when Jerusalem was 
sacked and the temple burnt. There is no 
doubt of the interrelation of the numbers used 
typically, and the times and seasons which God 
hath appointed, but which He keeps in His own 
hand. Nor can we doubt but even in names 
were concealed numbers which made the names 
highly significant, for the letters of the alphabet 
were anciently used as numerals. No more 
than we can suppose for a moment that it was 
by accident that the birth-place of our Lord 
received its name 'the house of bread,' or that 
it was not with an inner relation to His being 
the bread of life that He was born there, though 
chiefly because it was the ancient home of the 
House of David. But it is only in accomplished 
predictions based upon periods of time that we 
can be certain that the results are correct, and 
such results, too, are useful to us now. A 
harmony thus appears which shows a definite 
purpose, a premeditation in the prophecy that 
utterly removes it from the rash objection that 
it was possibly a clever guess based upon politi- 
cal insight. No clever guess could have given 
to Jeremiah's prophecy its accuracy ; nor to the 
far greater prophecy of Daniel, which so 
strangely compresses in its phrases tangled 
skeins of after-history, which were to help for- 
ward the unifaction of the once shattered 
Jewish nation and to give it the characteristics 
it bore whcxi the Messiah did come. 

These numbers in scripture have a grreat 
value then, but a study of them becomes so 
fascinating that it tends to mislead. It was 



In Christian Symbolism. 93 

discredited because of the absurd theories built 
upon systems arbitrarily using the numerals 
given us. But it is not necessary to discredit a 
truth because it has been misapplied. And it 
surely is a misapplication to endeavor to force 
not only out of names but out of texts results 
which possibly might be wholly upset were 
different reading to be established. It is a 
valuable auxiliary in proving the perfect 
accuracy of fulfilled predictions, but a danger- 
ous one by which to try to solve future 
mysteries." 

Let one of the ancient fathers speak; 
Clement of Alexandria has a chapter, No. 11 
in "The Stromata, or Miscellanies" that 
treats of "mystical meanings in the proportions 
of numbers, geometrical ratios and music," in 
which with references to the Old Testament, 
he gives ingenious constructions upon the Bible ^^^® ^^^ °^ Ante- 

j^u^ -u V. i^ 4. u • rNicene Fathers, Vol. 

records, too abstruse to copy here, but a briefg^p^^ i885. Notes bv 
extract, not too weighty, will be made. a. c. coxe, d.d. 

He had been dwelling upon the tabernacle 
and ark as testifying to geometry, — "And the 
length of the structure was three hundred 
cubits, and the breadth fifty, and the height 
thirty." * * "Now there are some who say 
that three hundred cubits are the symbol of the 
Lord's sign (the cross) ; and fifty, of hope and 
of the remission given at Pentecost; and thirty, 
or, as in some, twelve, they say points out the 
preaching (of the Gospel); because the Lord 
preached in His thirtieth year, and the 
Apostles were twelve. And the structures 
terminating in a cubit is the symbol of the 
advancement of the righteous to oneness and 
to 'the unity of the faith. ' " Ephesians 4:i3. 

From the far away writings of this ancient 
father, turn now to a modern nineteenth cen- 
tury rendering of symbolism of some numbers, 
as found in the following extract, taken from 



94 



An Anglican Study 



Vol. 25, page 544, the "Popular Science Monthly' 
etc.. Popular Science ^Xys^-jc Properties of Numbcrs. " 



on 



The 



Monthly, Article En 
titled, The Mystic 
Properties of Num- 
bers, by Etienne De 
La Roche. 



One The Creator has chosen it for his 

essence. 
He is the one only God, creator of all 

the world. 
Two Number of great pre-eminence and 

utility. 
God created light and darkness. 
God created sun and moon. 
God created all beasts in two sexes. 
God made for these two eyes, two 

ears, two nostrils, two arms, etc. 
Three The most perfect number after one. 

It pleased God the Creator to be trine 

in person, Father, Son, and Holy 

Ghost. 
Three nails fastened Christ to the 

cross. 
Three things in the ark, the rod, 

manna, and the Mosaic Law. 
Four First square number is of great 

esteem, and necessity. 
God created four elements. Fire, Air, 

Water and Earth. 
Four seasons of the year. Spring, 

Summer, Autumn, Winter. 
Four quarters. Eastern, Western, 

Northern, Southern. 
Four Evangelists, to certify the faith 

of Jesus Christ. 
Five Number of great convenience and 

utility. * * * God created five 

natural senses, sight, hearing, taste, 

touch, smell. 
Five fingers and toes. 
To redeem us Christ suffered five 

wounds 
Six Most worthy of the perfect numbers. 

God created everything in six days. 



In Christian Symbolism. 



95 



man's gains as tithe to 



Seven Number of great prerogative and 
singularity. * * * 
God rested the seventh day, therefore 

there are seven days in a week. 
Seven windows through which the 
ordinary senses are exercised, two 
eyes, two ears, two nostrils, and 
mouth. 
Eight First cube number, there are eight 

beatitudes. 
Nine Second square number. 

Ten By some considered a perfect number. 

The beginning of all numbers com- 
posed of ten. 
Foundation of our law, God gave ten 
commandments, and ordained the 
one-tenth of 
the Lord. 

Eleven First compound odd number. 
Twelve Number of great utility, Christ 
chose twelve apostles." 
Still another authority gives the significance 
of numbers, as follows: 
"One is Unity. 

Two represents Unity repeated. 
Three, the Creator, Trinity. 
Four, the world. * * * 
Five, the synagogue. 
Six, perfection, and creation. The hour 

when Jesus was crucified. 
Seven, rest, as in the Sabbath, love, grace, 

pardon ; composed of three and four. 
Eight, beatitude and resurrection (eight 

persons were saved at the deluge). 
Nine, (Angels). 

Ten, the law of fear; or salvation, in allu- 
sion to the denar given to the laborers 
in the vineyard. 
Twelve, apostles. 
Fourteen, perfection. 



Walcott i 
Archaeology. 



Sacred 



96 An Anglican Study 

Three hundred, redemption. 
Fifty, beatitude." 
Having thus given the list of one or two 
authorities, of numbers used symbolically, the 
numbers most frequently used in church sym- 
bolism, viz., 3, 5, 7, 8, 12 and 40, will be dwelt 
upon more particularly, with references from 
different writers regarding each of the numbers 
just mentioned, adding extracts from what Dr. 
Mahan says of many of the intervening 
numbers. 
Me^hlZedVoi^ms^l'. '"The number one is, in all languages, a 
109. symbol, or rather a synonym of Unity." 

" Two is a number of certainty or assurance, 
as in the two dreams of Pharaoh, the two wit- 
nesses, the verify, verify, of our Lord." * * * 
Also " 'Theologically, it is the number of Incar- 
nation, ' types of which are to be found all 
through the sacred volume: the two natures be- 
ing matched by the two great sacraments, or 
the two parts whereof a sacrament consist, the 
two witnesses, the two testaments, the two can- 
dlesticks, the two turtle doves, * * the two 
pence given by the Good Samaritan for the 
recovery of the dying man, * * * other 
things of the same kind, in which the Fathers 
Dr. Mahan'swrorks,g^^ at least a sort of reminder of the 2:reat 

Vol. 2, pub. in 1875, pp. - ^i_ r i • • > . 

220 221 truth of our religion. 

"As to three, it is well known that scripture 

* * * delights in this numeral" * * * 

Gen. I, II, III. "In the first chapters of Genesis there is 'God' 

creating; there is the ^ Spirif brooding upon 

„ , • u T. the waters and quickeninof; there is Uhe Lord 

Palmoni, by Dr. ^,^,. .^ .?'' -.,. 

Mahan, edit, of 1868, G^^^, ' fashiomug, coutriviug, and judgmg.^ 

p. no. "Three is the number of essential perfection, 

or of perfection in general. " * * * "Theo- 

voh're''d?\7°i87J;l^g^^^^^y' the number is a symbol of the Trin- 

p. 221. ' ' ' ity. ' ' 

"Pythagoras calls three the number of com- 
pletion, expressive of beginning, middle, and 



In Christian Symbolism. 97 

end. The number was a favorite one in classic 
mythology, where we meet with the three- 
headed Cerberus, the three Fates, the three 
Furies, the three Graces, while the Muses are 
three times three in number. The wise men, 
or kinffs, or Mao^i who followed the s^uiding 

\ ^ -o ^1-1 u ^1, • u Symbolism in Chris- 

star to Bethlehem, were three m number, ^.J^^^^^yHuime, p. 
according to generally accepted tradition." lo. 

From all of which it is learned, that while 
three is a number of ancient significance, its 
chief importance in this series is to be found in 
the definitions, viz., the number of essential 
perfection, and its being, theologically, a sym- 
bol of the Trinity. . 

In this connection, may not the fact be noted 
with emphasis, that there are but three ortho- 
dox Christian churches, making up the Cath- 
olic Church? 

These, as have been before enumerated, are 
The Greek Church, 
The Roman Church, 
The Anglican Church. 

The brethren of the Christian denominations 
that separated from the Anglican Church will 
probably, at first sight, object to this state- 
ment. Their own position in regard to 
eclesiastical matters, only strengthens the 
assertion. 

They went out from the Anglican Church, 
which they do not deny, because of objections 
that could not be recognized as just by the 
larger proportion of the body to which they be- 
longed ; therefore though they severed their 
connection as to externals, they are none the 
less children of one of the three branches of the 
true Catholic Church. That they yearn to re- 
turn more closely to the fold of the Anglican 
Church, is manifest on every hand; as illus- 
trated by the growing preference for a liturgi- 
cal form. 



98 An Anglican Study 

They are willing, as some times expressed by- 
certain of their members, to agree to a Historic 
Episcopate, or Presbytership, but stumble at 
the "tactual succession." They claim that the 
descent is wholly spiritual. 

Will not the fact that Christ ever used sym- 
bolism to express the truths He came to teach, 
convince all, that some symbol was necessary to 
confirm the truth, that in an unbroken line from 
the Apostles, men have been chosen to transmit 
the doctrines; and why not the customs, as 
observed by Christ himself? 

The act of consecration, is ever a symbol of 
action, denoting the spiritual succession in the 
ministry of Christ, just as "Water is the out- 
ward and visible sign" in Baptism. 

To further illustrate the symbolic signifi- 
cance of the number three, the Very Rev. 
Daniel Rock in describing the Apparels of an 
Alb in the South Kensington Museum, being 
work of the English embroiderer of the four- 
teenth century, speaks of the presence in the 
design, of a flower pot with the lily, in connec- 
tion with the Blessed Virgin and Child, where it 
South Kensington is "as it should bc, of ouc stalk and three 
Museum, Textile Fab- blossoms. " It will bc of intcrcst to notc /zow 
rics, A Descriptive many artists remember the appropriate repre- 
cataiogue etc I'J; scutatiou, whcrc thc lily denotes the Annuncia- 

the Very Rev. Daniel . -11,1 11 1 11 

Rock, D.D., London, tion, and the three blossoms on the one stalk, 
1870, pp. 146, 148. the Blessed Trinity. 

"Four is the cosmical number, the number 
edt. 1863, p. of creation * * the number of organic as 
115. distinguished from essential perfection." 

"The meaning of four is warranted by an 
universal tradition, being associated with the 
four quarters of the heavens, the four winds, 
the four rivers of Paradise, the four Gospels, 
the four camps of Israel, and the like. 

It is a figure of the Cosmos, the world in its 
universality and order. The word Catholicity, 



Dr. Mahan Pal 
mon 



In Christian Symbolism. 99 

perhaps, is the best expression of its meaning, 
the idea being that of a concentrated and Dr. Mahan's works, 
orderly, not of a diffused or vague univer- voi. 2, pub. 1875, p! 
sal it y." 221. 

It may be asked by many, why is Five an 
especial number in the Christian Church. Let 
the followmg references suffice to show. 

"Five 5K * * may be defined as the num- 
ber of Sacred Order ^ viz., of the covenant or 
law. 

Hence, in the covenant with Abram, Gen. 
15 :9, there are five offerings, three of which 
were divided so as to make eight in five." * * 
* "The four fingers of the hand, controlled and 
concentrated by the fifth, which is the thumb, is 
a good illustration of its meaning. 

It was the basis of military organization 
among the Hebrews, who went out from Egypt 
harnessed^ that is, literally 'by fives.' Among 
the Romans also, a band of soldiers was Manus^ 
a hand. In the wilderness, the four and five 
were beautifully combined ; there were four 
camps making the four sides of a square; but d^. Mahan's works, 
in the midst was a fifth, the Sacred Camp of voi. 2, pub. a875, p. 
Levi." 222. 

"In Christendom, there was a system anal- 
agous to that of the five camps. 

Five patriarchates, Rome, Constantinople, 
Alexandria, Antioch, Jerusalem, composed the 
Catholic Church; among these, however, jferu- 
salem held a sacred and honorary place ; it was 
not a centre of actual power. Like Levi, it had 
no inheritance of a temporal kind; its influence 
was purely spiritual." * * "The five wounds 
of our Lord, with a vast deal more of the same 
kind, may illustrate the importance of this j^^ Mahan's works 
number and its general meaning." voi,2, p. 223. 

It will be well here to consider what Mr. 
Rolfe has to say about the ancient significance 
of the numbers three and five in combination, 



100 An Anglican Study 

which was suggested in the first reference 
quoted regarding five, where it referred to the 
five offerings of Abram, three of which were 
divided. 

To make intelligible it will be necessary to 
quote what Mr. Rolfe says about the stole, 
which leads up to the significance of the num- 
bers three and five, though the paragraph 
rightly belongs to the Lecture on Vestments. 
Ancient Use of Li- ""^^ ^^^ ancicut Church of England, the stole 
turgicai Colours, by wom at the altar harmonized probably in point 
c. c. Rolfe, p. 213. of colour with the chasuble. When the red 
chasuble was worn by the Priest, it is most 
likely that he wore also a red coloured stole ; 
and so on. So, nowadays, whenever a stole is 
worn as the outermost liturgical vestment, i. e. 
without the chasuble, one would think a Priest 
could not be doing wrong by wearing a red or 
white one, according to the season, embroi- 
dered at its ends and in the centre (i. e. in 
three distinct places) with none but the five 
mystic colours of the law. (The "Five Mystic 
Colours of the Law," viz. : Gold, Blue, Purple, 
Red, White. ) This would in some measure, 
until such time as the chasuble is again 
generally worn, help to perpetuate two of 
the most ancient traditions of the Catholic 
Church, the combination of the five mystic 
colours in the vesture of the Priest; and the 
play upon the mystic numbers five and three in 
combination, which is one of the most ancient 
and scholastic modes of dogmatizing the sacri- 
ficial nature of the Eucharist." 
St. Matthew 14:17; In the miraclc of the five loaves and two 
st.Mark6:88; st.Lukeggj^gg^ obscrvc the numbcrs mentioned; the 
. , .Jo n . . ^^^ ^^ sacrifice, the two of Incarnation; and 
the twelve baskets gathered up, to represent 
the abundance of the gospel, proclaiming salva- 
tion through the incarnation and sacrifice of 
Jesus, the Christ. 



In Christian Symbolism. 101 

Also note the number 5000 divided, that sat 
**down by fifties." The 5000 being a multiple 
of 50, 10 and 10. 

In the second miracle of feeding the multi- 
tude, that found in St. Matthew 15:34. St. Mark 
8:5. the number of loaves of bread are seven, 
and the fishes are mentioned as a few. Seven, 
the number of spiritual perfection, as here used, 
would seem to denote its significance as being 
the sum of five and two, or again the union of 
the idea of the incarnation and sacrifice. The 
number of people fed was 4000, again a multi- 
ple of numbers of scripture, viz., the 40 of pro- 
bation, multiplied by ten and ten, which num- 
ber (10) represents the law, both of Fear and 
Salvation. 

To anyone giving the matter close attention, 
it is surely clearly evident that the numbers of 
scripture have a significance, else the frequent 
use of certain numbers would not be found, as 
is the case to the exclusion of others. Enough 
only is given here in this world to stimulate the 
desires for the hereafter, hence a too urgent 
inquiry into the depths of the mystery of the 
symbolism of numbers as used in Scripture is 
possibly not the most helpful study for the 

i-M • j^' 1 1 Ancient Use of Li- 

Christian churchman. ^^^^,^^, colours, by 

Rolfe states C. C. Rolfe, p. U, etc. 

"The mystic number ;f-z;^, the number of the 
colours ordained by God for the sacrificial vest- 
ments of His church upon earth, is one of the 
most important of the symbolic numbers. In 
the language of numerical symbolism it typifies 
*sacrifice. ' We gather this, primarily, from 
the Bible. All through the Bible, from the 
book of Genesis to the Revelation of St. John, 
there is again and again a play upon the mystic 
number five in connection with the subject of 
sacrifice. In many cases the thing is not so 
clear at first sight, especially to a casual reader. 



102 An Anglican Study 

The symbolism often underlies the sacred text, 
and is perceptible only to those who meditate, 
as well as read. For example, in the account 
of Abraham's sacrifice, before the giving of the 
law, it may not have struck som.e readers of the 
Bible, that there are but five things specified ; 
but it is so." 'And He said unto him, Take 
me an (i) heifer of three years old, and a (ii) 
she-goat of three years old, and a (iii) ram of 
three years old, and a (iv) turtle dove, and a 
(v) young pigeon.' (General xv:9. ) And 
again we read, 'And they shall take gold, and 
blue, and purple, and scarlet, and fine linen,' 
it may not have struck all readers that there is 
this mystic play, so to speak, upon the number 
five, underlying the sacred text. But it is so. 
And so on throughout the Bible the same 
mysticism may be remarked. 

Upon the ancient ritual and ecclesiastical art 
of the Catholic Church the mfluence of this 
number five was so great that it cannot be 
overrated. It appears to have had an even 
greater influence upon the ritual and art of the 
Church of England, than upon that of the 
coeval Church of Rome and Italy. This mystic 
number has, indeed, exercised a most surpris- 
ing influence upon the entire system of the 
ancient Church of England. The symbolic 
groups of the five crosses which occur in Leo- 
fric's Anglo-Saxon missal, now in the Bodleian 
Library, as also the same mystic group of five 
crosses which occur in the Sarum canon of the 
Mass, (denoting where the Priest should five 
times in succession make the holy sign) afford 
one of the many indications which exist of the 
association of this number with the doctrine of 
sacrifice, in the minds of the old churchmen of 
this land. 

But upon our ancient Church of England 
ecclesiastical art, its influence was even greater 



In Christian Symbolism. 103 

than upon her ritual. In all cases the symbol- 
ism is, as it were, underlying the work; form- 
ing its very essence and guiding principle of 
design; but yet not apparent to the world at 
large. The world does not understand, when 
it gazes with admiration upon those grand old 
cathedral piles, which are the glory of Eng- 
land, that not only their ground plans, but even 
their minutest details, are materially influenced 
by a play upon this number five, to dogmatize 
the great doctrine of sacrifice. Durham, 
Chester, York, Rochester, Worcester, and all our 
other old Cathedral Churches which are erected 
on foundations dating either from Saxon times, 
or from the latter half of the eleventh century, 
indicate that the internal length of each was 
originally just about five times the internal 
width. When people in this age praise and 
admire the beautiful proportions of our English 
Cathedrals, they altogether overlook the doc- 
trinal import of their parts. It is because all 
this symbolism underlies the work that, in this 
restless and superficial age, people will not give 
themselves the leisure to look deeply enough 
into the matter to see it. It is only by study- 
ing carefully, as true churchmen^ such beautiful 
work, for example, as that of Prior William 
de Hoo at Rochester Cathedral, that we per- 
ceive how the number five has infiuenced not 
merely its ground plan, but its whole design; 
and how that from floor to roof, all the features 
and details of this beautiful and symbolic work 
of art round about where stood the high-altar 
of this Benedictine Church, speak to us of 
Sacrifice, by reason of the mystic play upon the 
number five which underlies the whole design. 
The science of the symbolism of numbers 
enables us, therefore, to form some idea of the 
importance of the sacrificial vestments of God's 
Church upon earth being made up of five sacred 
colours, and five only." 



104 An Anglican Study 

In a former lecture on Color, it was noted 
that "in China five symbolical colours are 
employed" which, it is stated, "is known to 
have been in force over a thousand years before 
the Christian era." Can it be possible that 
even to the Chinese there is a hidden meaning, 
symbolizing sacrifice? 

Dr. Mahan's Works, " Six is a symbol of sccular completeness," 
Vol. 2, pp. 219, 223. which explains its lack of significance as a sym- 
bolic number of the church. "Seven the 

Paimoni by Dr. Ma- Sabbatical numbcr. Its root idea, undoubtedly, 

ban, pub. 1863, p. 86. is that of TCSt. ' ' 

"The Christian era is the true 'rest' or Sab- 
bath; and though men fail to 'enter in' just as 
the Jews failed in the 'rest' of Joshua, yet it is 
'because of unbelief; we are slow to realize 
the wonders by which we are surrounded. This 
being considered, it will be easy to understand 
how it is that the Sabbatical number seven is 
Paimoni by Dr. Ma- a^so, in Holy Scripturc, a symbol of the spirit, 
ban, pub. 1863, p. 87. Our scvcuth agc is the day of the Holy Ghost. " 
Dr. Mahan's Works, ' ' Scvcu is the uumbcr of Spiritual perfection^ ' ' 
Vol. 2, p. 223. "The number seven is manifestly a favorite 

in scripture, and to any one who will trace it 
. " from Genesis to Revelation, there can be no 

doubt that it is associated with the idea of the 
Dr Mahan's Works, -^/^'^^'^^^^ ^s distinguished from the secular or 
Vol. 2, p. 2]8. natural." 

"And here it may be noted that the four and 
three which * ^ compose the number seven, 
are what may be called numbers of perfection: 
^ ,, , , ,,, , three, ot spiritual or essential, 

Dr. Mahan's vV^orks, '^^ ., . . . ,, 

Vol. 2, p. 87. four^ or material or organic perrection. 

"Seven being the spiritual number, its mul- 
Dr. Mahan's Works, tiples 14, 21, 28, aud thc llkc, have substantially 
Vol. 2, p. 228. the same meaning. ' ' 

To further illustrate, "Jacob, as a sign of per- 
fect submission, bowed himself seven times be- 
fore his brother. The sevenfold circuit of 



I 



In Christian Symbolism. 105 

Jericho, prior to its complete overthrow, is an- 
other example. 

Naaman was commanded to bathe seven 
times in the Jordan as a prelude to his complete 
restoration to health. Samson, for full security, 
was bound with seven bands. * * * On 
the first appointment of deacons in the early- 
Christian Church seven men of honest report 
were to be chosen. >ic * * The golden 
candlestick of the Jewish Temple was seven- 
branched. In the Talmud we read that over 
the throne of King Solomon hung a chandelier 
of gold with seven branches, and on these the 
names of the seven patriarchs, Adam, Noah, 
Shem, Abraham, Isaac, Jacob and Job were 
engraven. On the second row of the branches 
were engraved the 'seven pious ones of the 
world. ' Levi, Kehath, Amram, Moses, Aaron, 
Eldad, and Medad. It is represented in a por- 
tion of one of the sculptured panels on the 
triumphal arch of Titus at Rome." * * In 
the apocalypse "we read of seven candlesticks, 
seven stars, seven trumpets, the seven spirits 
before the throne of God. * * At the crea- 
tion of the world the seventh period marked its 
completion. 

Psalms 6th, 32d, 38th, 51st, 102d, 130th, 143d, 
are those known as the seven penitential 
psalms from their especially contrite character. 
* >K * The seven joys and the seven sorrows 
of the Virgin Mother are frequently repre- 
sented in the art of the Middle Ages. The 
first series comprises the Annunciation, the 
Visitation, the Nativity, the Adoration of the 
kings, the Presentation in the temple, the find- 
ing of Christ among the Doctors in the Tem- 
ple, the Assumption. The seven sorrows are 
the prophecy of Simeon, the flight into Egypt, 
Christ missed in the temple, the betrayal of her 
son, the Crucifixion, the Deposition from the 
Cross, and the Ascension. 



106 An Anglican Study 

Symbolism in Chris- There wcrc also seven great councils of the 
tian Art, Huime, pp. early church. " 
' ' * Thus forcibly is the importance of the num- 

ber seven presented, and its symbolic use in 
the church fully appreciated. 

Dr. Mahan says, ''One word, touching the 
ineaning which we assume for this number 
eight \ Dr. Wordsworth says, in his notes on 
the New Testament, 'As the number' seven is 
the vSabbatical number, or number of rest, in 
Holy Scripture, so eight may be called the 
dominical. Seven is expressive of rest in 
Paimoni by Dr. Ma- Christ; eight is cxprcssivc of resurrection to 
ban's pub. 1863, p. 71. ncw Hfc and glory in Him. ' " 

"The meaninof of eie^ht as the number of re- 

Dr. Mahan's Works, , • , ** ° ^. 

Vol. 2, Edt 1875, p ^^wal, revival, regeneration, resurrection, is 
224. ' ' most abundantly illustrated. " 

"One of the first indications of its meaning is 
in the appointment of the eighth day as the 
time of circumcision. 
Dr. Mahan's Works, The Fcast of Tabcmacles, the type of the 
Vol. 2, p. 224. Incarnation, lasted eight days. ' ' 

Paimoni by Dr. Ma- "Abovc all, it is the day of Resurrection, 
han, pub. 1863, p. 72. 'The Lord's Day,' of the Church." 

"It is the first cube, as four is the first 
square ; it indicates something, the length and 
breadth and height whereof are equal. (The 
significance of the cube in scripture is indicated 
by the dimensions of the New Jerusalem, the 
church in its glory; 'the length and breadth 
and height of it were equal.' In the Temple 
and the Tabernacle, the Oracle and the Holy 
Dr. Mahan's Works, placc wcrc cubes. ) It stauds therefore as the 
Vol. 2, p. 224. number of life. ' ' 

Turn to "that pregnant utterance of St. 

Peter, in his first epistle (111:17-22)." >i^ * * 

"The leading thought is that of the resurrection 

as the saving power ; by which baptism is now 

Dr. Mahan's Works, saving US, just as the eight souls in the ark 

Vol. 2, p. 481. were saved by the water of the flood." 



In Christian Symbolism. 107 

"But before undertaking the analysis of the 
whole passage one turns naturally to that 
mystical phrase, 'a few, that is eighty souls were 
saved.' I call it mystical^ because St. Peter 
seems to see something in the number worth 
noting, especially as he afterwards speaks of 
Noah as the eighth person. For all ordinary 
purposes it would have been enough to say, a Dr. Mahan's works, 
few were saved^ or eight persons were saved. ' ' Voi. 2, p. 432. 

"Eight is the number of regeneration, hence 
by far the greater number of the old fonts and „ ... . _, 

•' . . o Symbolism in Chris- 

baptistnes are octagonal, tian An. p. u. 

It was "in the thirteenth century fonts be- 
came octagonal, symbolical of regeneration, 
the creation of the world having occupied seven For authority for 
days." Why it should be thus stated would 'Jate of Fonts becom- 
seem to be, if six days, with the seventh of 'J'^'^/'^^^^^' '" 

1 \l J ^1 ^' !_• ^1 -1 ^ Sacred Archaeology by 

rest, completed the generation or birth, eight waicott under the 
would imply a rebirth, or regeneration. word Font. 

Nine was not listed among the numbers to 
be especially considered in this series, but a few 
statements by Dr. Mahan regarding it will be 
of interest. "Nine is a great number among 
the professors of occult science, chiefly on 
account of its curious arithmetical property, 
*that the figures which compose its multiples, 
if added together, are always a multiple of 
nine' (Any number whatsoever, large or 
small, if multiplied by nine, will give a result, 
which, when the digits composing it are added 
together until they are reduced to one, that 
Ti'i'i^'a^."'""' thus 139X3=387, 3+8+7= ^, ,,.,,„„ ^„,,, 

^°' l + t> — y. Vol. 2, p. 225. 

When nine is found associated with church 
articles, as to height, length, or otherwise 
used, its symbolic significance should be con- 
sidered rather as a multiple of three, the num- 
ber of the Trinity, than as an integral number. 

" Ten is the number of the commandments." 

"St. Matthew 25:1. Ten). The number ten 



108 An Anglican Study 

was much noticed and used by the Jews. A 
congregation with them consisted of ten per- 
sons, and less than that number did not make 
one; and wherever there were ten persons in 
a place, they were obliged to build a syn- 
agogue. The blessing of the bridegrooms, 
which consisted of seven blessings, was not said 
but in the presence of ten persons. To this 
Burder's Oriental thcrc may bc an allusion here. (St. Matthew 
Customs, p. 209. 25:1) GUl.inloc.'* 

This verse, St. Matthew 25 :1, it will be remem- 
bered, refers to the ten virgins that *'went forth 
to meet the bridegroom." 

"Eleven so occurs in scripture generally as 

to indicate imperfection, disorganization, strife; 

the eleven dukes of Edom are a case in point. 

When the Shepherd was smitten, and the sheep 

Dr. Mahan's vi^orks, scattered, thc twclvc of the Apostolic College 

Vol. 2, p. 226. was reduced to eleven. ' ' 

"Twelve is emphatically the church number, 
the three of essential multiplied by the four of 
Dr. Mahan's v^^orks, organic perfection, or the seven of the spirit 
Vol. 2, p. 226. plus five of the covenant or law." 

"St. Augustine, * * * after referring to the 
passage in St. Paul, 'What, know ye not that 
the saints shall judge the world?' and explain- 
ing that the twelve thrones represent the twelve 
apostles, goes on to say: the parts of the 
world are four; the east, the west, the north, 
and the south. From these four, saith the 
Lord in the gospel, shall the elect be gathered 
together, called, and how? By the Trinity. 
Not called except by baptism in the name of 
the Father, and of the Son, and of the Holy 
Symbolism in Chris- Ghost ; SO four parts cach Called by the Three 
tian Art, p. 14, 15. make twelve. ' ' 

Works of Dr. Ma- " Forty is eight times five, the number of 
han, Vol. 2, p. 280. covcnantcd probation. ' ' 

The references in scripture to prove this are 
so familiar, that they need not be quoted here, 



In Christian Symbolism. 109 

only the perpetuation of this idea by the church 

should be noted in its yearly observance of the 

season of Lent. "Fifty is the number of ^^^^^^ ^^ ^^ j^^_ 

jubilee or deliverance. ' ' han, voi. 2, p. 230. 

The numbers three, five, seven, eight, twelve 
and forty have thus all been considered, and 
shown to be peculiarly appropriate symbols in 
the Christian Church. , It may well be asked, 
why take up thirteen? Simply to show by 
quotations from Dr. Mahan's work, how even 
in scripture unfortunate association would seem 
to go far towards confirming its present dis- 
favor. Yet Dr. Mahan couples with it the idea 
of Atonement, the most blessed idea to the 
Christian, he says "Thirteen * * is the num- 
ber of Transgression, and the number of 
Atonement; or, what includes both, the num- 
ber of Sin; for the word sin where it first 
dccurs, and in many other places, is to be in- 
terpreted Sacrifice for sin. " 

Associated "with Ishmael: in accordance 
with which it pervades all history as the sym- 
bol of separation, disorganization, revolution, -vvorks of Dr Ma- 
decay and such like ideas." han, voi. 2, pp. 226, 227. 

From the foregoing extracts, culled from 
various writers on the subject of the Symbolism 
of numbers much may be gained, that should 
guide in the proper use of numbers as symbols 
in the Christian church. Errors that have 
been referred to, where the enthusiasm for the 
subject has led too far, are to be avoided. 
Increased responsibility is made apparent, that 
lies upon the Architect, the Designer, the Em- 
broiderer, the Church member. 

The architect for the cathedral or church, 
should hold his art in obedience to a law higher 
than that of the mere architect of Palace, House 
or Theatre. Nothing should be sacrificed to 
beauty, where symbolical accuracy is required. 



110 An Anglican Study 

The strength of beauty is always in its appro- 
priateness. 

Let another speak of the "deep meaning" in 
the plan of church or cathedral: "A deeper 
and better symbolism is carried out in the 
proper plan and construction of a Church. 
There from the great door to the Eastern window- 
all can be symbolically arranged, in gradations, 
as we find them carried out in the Temple of 
the Courts, of the Gentiles, Women, Men, 
Priest, and the Sanctuary, and the Holy of 
Holies. The Narthex, the Nave, the Choir, the 
Sanctuary, had their appropriate positions. 
The Cruciform plan, the Arch of Triumph over 
the Choir, the lights of the Eastern window, all 
were marked with a beauty of symbolism, 
which was the more deep and enduring because 
it places the worshipper into the centre of its 
types, that existed for him, and his service 
made use of it. Of all the plans of construct- 
ive symbolism the Eastern Church is the most 
complete; from crypt to dome it was originally 
intended to have a significance, to tell a fact, 
to symbolize the doctrine of the faith. It was 
so considered, and the explanations and 
allegorical descriptions which appear to puerile 
paedia by^BentoI*^ p. ^° those who do uot admit the value of symbol- 
719. ' ism, are full of meaning to the student." 

The designer whether for interior of Cathe- 
dral, the Church, or the Vestments, should ever 
have in mind the great responsibility of his 
position, to accurately perpetuate the ancient 
symbolism of the Catholic Church, free of the 
unwarranted additions of the Middle Ages. 

Upon the Embroiderer, and Needleworker, a 
constant restraint must be made, lest the 
allurements of color, lead to the unwonted use 
of what is tasteful, but not warranted by the 
early Christian use. 

The Church member should pause to consider 



In Christian Symbolism. Ill 

why the Fair Linen Cloth should have five Crosses 
embroidered upon it, and only five. Why the 
Eucharistic Candles should be two. Why the 
Font should be Octagonal, and why the stole 
should have three Crosses embroidered upon it, 
and the five "Mystic Colours" should be used. 
With all these sacred symbols, care is 
necessary lest they be used where their symbol- 
ical significance would be lost; as for instance, 
to place a figure that could under any circum- 
stance be construed to represent a cross, as a 
part of a design used for a border in cathedral 
or church. This is surely most deeply to be 
deplored, as both symbolism of form and num- 
ber would be lost. 

When all these tangled threads of mystery 
here, are caught again by the Church in the 

j great hereafter, what has been too intricate for 
" unraveling here, will all straighten out in lines 

|| of perfect beauty and clearness, in proportion 

(I as the Mystic threads have been carefully held 

jl bv the church on earth. 



SYMBOLISM OF LANGUAGE. 

Chapter VI. 

As Used by ** Savage and Semi-Civilized People" — 
The Creed— The "Names, Titles and Offices of 
Christ" — Amen. 

"Symbolism may be of language. This 
imagery of diction is especially characteristic 
of savage and semi-civilized peoples, though 
be no means confined to them. The oratory of 
the New Zealanders or of the North American 
Indians owes much of its force and beauty to 
this symbolism of language, and it is a very 
marked feature in the literature and daily 
speech of many of the eastern races. Thus, 
amidst the decorations of the Alhambra, we 
find entwined a great variety of laudatory in- 
scriptions, such as the following: 'Thou hast 
risen in the horizon of empire like the sun in 
the vault of heaven, mercifully to dissipate the 
shadows of injustice and oppression. Thou 
hast secured even the tender branches from 
harm and the breath of the summer gale.' 
Biblical examples may also very readily be 
found: 'As the apple tree among the trees of 
the wood, so is my beloved. I sat down under 
his shadow with great delight, and his fruit 
was sweet to my taste. ' We may instance also 
the blessing given to Jacob, 'With corn and 
wine have I sustained him' ; corn, the source of 
the staff of life, and wine to make glad the 
heart of man, being selected as symbolizing the 
general material and temporal prosperity which 



In Christian Symbolism. 113 

the expression was meant to convey. The 
proverbs that are found in the literature and 
speech and almost all races of men are a fur- 
ther illustration of this delight in a picture 
language. 

As for example : 

'111 weeds grow apace.' 

'There is a silver lining to every cloud.' 

'Where bees are, there is honey. ' tial'^I^rt!Huime';pp.'9 

' One sword keeps another m its scabbard. ' " and lo. 

All this is well for the subject in general, but 
how does its symbolism apply to language in 
the Christian Church? 

It may surprise many that Sunday after Sun- 
day they have used the symbolism of language 
in its most impressive and expressive form. 
The following definition of the word Creed will 
explain ho^v; 

"Creed. By the word creed (from credo ^ I 
believe) is meant the substance of the Chris- 
tian's faith. There are three creeds recog- 
nized by the Catholic Church — the Apostles' 
Creed, the Nicene Creed, and the Athanasian 
Creed. The Latin name for Creed is Sym~ 
bolum, which signifies a watchword, or signal in 
war. Ludolph of Saxony, in his Life of Christ, 
describes the creeds of the Catholic Church 
thus: 'There are the three symbols (watch- 
words or tokens, such as are used among 
soldiers of a garrison, to recognize their com- 
rades, and to detect insidious intruders), the first 
of the apostles, the second of the Nicene Coun- 
cil, the third of St. Athanasius; the first for in- 
struction in the faith, the second for the ex- 
planation of the faith, the third for defence of 
the faith.' Three in name, but one in fact, 
and which, except a man believe faithfully, he ^j "^^^ '' ^^Xed ^pp' 
cannot be saved. ' ' 175 and 175. 



114 An Anglican Study 

As the Latin for Creed is "Symbolum," turn 
now to the definition of symbolum. "Symbol, 
or Symbolum, A title anciently given to the 
Apostles' Creed, and for which several reasons 
have been assigned Two of these have an 
appearance of probability, viz., that (1) which 
derives it from the Greek word, signifying a 
throwing or casting together, and alleges that 
the apostles each contributed an article to form 
the creed, forming their joint opinion or coun- 
sel in an abridged form; and (2) the opinion 
that this creed was used in times of persecution 
as a watchword or mark whereby Christians 
(like soldiers in the army) were distinguished 
from all others. This latter is the sense given 
in the short catechism of Edward VI., 1552, 
where we read, 'M. Why is this abridgment 
of the faith termed a symbol? S. A symbol is, 
as much as to say, a sign, mark, privy token, 
or watchword, whereby the soldiers of the same 
camp are known from their enemies. For this 
reason the abridgment of the faith, whereby 
Hook's Church Die- the Christians are known from them that are 

tionary, p. 531. j^o Christians, is rightly named a symbol.' " 

Another authority on the subject says, 
"Symbol. It was early used to mean the 
Creed. The reason for this cannot be satis- 
factorily traced. But the Symbols of our Faith 
are the Creeds — the Nicene and the Apostolic. 
The word, however, laterally, is not confined 
to the creeds, but is applied to all confessions 
of faith by different churches, denominations, 
or religious societies. In this it takes a wider 
range than should be permitted to so technical 
a term. But the word is used to mean the 
representation of something by another by 
which it can be suggested, as a letter for a 
sound, a type for a reality, or a hieroglyph for a 
charch Cyclopaedia word or coucrcte idea, and thence passing into 

by Benton, p. 718. ^]^g Christian ritual and decorative art." 



In Christian Symbolism. 115 

It is undoubtedly evident that the creed is 
the first and best example of the Christian 
Symbolism of Language ; there are, however, 
other examples which, though they take a sub- 
ordinate position to that of the creed, are yet 
to be considered. 

Throughout scripture there are many illus- 
trations of the symbolic use of language. 
There is one book of the Bible that in its en- 
tirety may be said to be an example of the sym- 
bolism of language, and that is "The Song of 
Solomon, " referring as it does to Christ and 
His church. 

Then the "Names, titles and offices of 
Christ" as found in scripture, may be cited, a 
list of same at hand, found in one of the 
"Teachers Bibles," numbers no less than 104, 
of which the following are a few: 

The Second Adam, 1 Cor. 15:45.47. 

Author of Eternal Salvation, Heb. 5:9. 

Little Child, Isa. 11:6. 

First-begotten of the Dead, Rev. 1 :5. 

Horn of Salvation, St. Luke 1:69. 

I am. Ex. 3:14 St. John, 8:58. 

Bright and Morning Star, Rev. 22:16. 

True Vine, St. John 15:1. 

Wonderful, Isa 9 :6. 

Branch, Zech. 3:8 6:12." 
In reference to this last symbolic title for 
Christ, the Branch, the following quotation will 
be both interesting and suggestive. The item 
digresses at first to the customs of the Druids, 
but makes an application to Christian religion, 
hence it is cited. 

"Zech. 3:8. I ivill bring forth my servant the 
branch). The oak was very early made an 
object of idolatrous worship, Isaiah 1:29, and 
in Greece we meet with the famous oracle of 
Jupiter at the Oaks of Dodona. In Gaul and 
Britain we find the highest religious regard 



116 An Anglican Study 

paid to this tree and its mistletoe, under the 
direction of the Druids. The mistletoe is in- 
deed a very extraordinary plant, not to be 
cultivated in the earth, but always growing 
upon some other tree, as upon the oak or apple. 
The Druids, says Pliny (Nat. Hist, lib. 17, c. 
44), hold nothing more sacred than the mistle- 
toe, and the tree on which it is produced, pro- 
vided it be the oak. They make choice of 
groves of oaks on their own account, nor do 
they perform any of their sacred rites without 
the leaves of those trees, so that one may sup- 
pose that they are for this reason called by a 
Greek etymology Druids. 

And whatever mistletoe grows on the oak, 
they think is sent from heaven, and is a sign of 
God himself having chosen that tree. This, 
however, is very rarely found ; but when dis- 
covered is treated with great ceremony. They 
call it by a name which in their language signi- 
fies 'the curer of all ills;' and having duly 
prepared their feasts and sacrifices under the 
tree, they bring to it two white bulls, whose 
horns are then for the first time tied. The 
priest, dressed in a white robe, ascends the tree, 
and with a golden pruning-hook cuts off the mis- 
tletoe, which is received in a white sagum or 
sheet. Then they sacrifice the victims, pray- 
ing that God would bless his own gift to those 
on whom he has bestowed it. Is it possible, says 
Mr. Parkhurst (Heb. Lex. p. 50), for a Chris- 
tian to read this account without thinking of 
Him who was the desire of all nations, of the 
man whose name was the branch, who indeed 
had no father on earth, but came down from 
heaven, was given to heal all our ills, and after 
being cut off through the divine counsel, was 
Border's Or lent a i^^^PP^*^ ^^ ^^^ Hncn, and laid in the sepulchre 
Customs, p. 265. for our sakcs?" 

What of the word "Amen?" Does it not 



In Christian Symbolism. 11.7 

signify that the person using it, intends to ex- 
press his desire that the blessing given or the 
prayer made be truly answered? Its origin is 
so remote, even to the Levitical law, that its 
use in the Christian church is most natural, 
Christ Himself having used that form of it, ex- 
pressed by the words, "Verily, verily" as see 
St. John 3:3.5.11. 

"in 1st Chron. 16:36, it is said 'And all the 
people said Amen.' " 

"The Jewish doctors give three rules for 
pronouncing the word. 

1. That it be not pronounced too hastily 
and swiftly, but with a grave and distinct 
voice. 

2. That it be not louder than the tone of 
him that blessed. 

3. It was to be expressed in faith, with 

a certain persuasion that God would bless them girder's oriental 
and hear their prayer. ' ' ^ customs, p. 202. 

Reference has been before made to that peti- 
tion in the Litany, "O Lamb of God, that 
takest away the sins of the world," to forcibly 
illustrate the constant use of symbolism by 
those who have never realized the fact, and 
have believed themselves proof against the use 
of that handmaid of religion that rightly 
accepted is a help, and not a hindrance to the 
better spiritual development of the Christian. 
This question of symbolism of language in the 
Christian church is very closely associated with 
the symbolism of action; so much so, that it is 
difficult to separate them into different chap- 
ters for consideration. 

In that "guest chamber" was established by st. Luke22:n-i5. 
Christ himself "those Holy Mysteries" wherein 
He bade His followers observe and do as He 
gave them example, adding by the power of 
the symbolism of language, what the action 
signified to the faithful recipient. Can the 



118 An Anglican Study 

Christian fail to realize the exalted position of 
that mode of symbolism termed the Symbolism 
of Language, when it is required to express the 
faith of the believer, by means of the Creed, 
and strengthens and seals the "Holy Mystery" 
of the Eucharist? 
St. Luke 22:19-20. These are His words "And He took bread, 
and gave thanks, and brake it, and gave unto 
them, saying, this is my body which is given 
for you ; this do in remembrance of me. Like- 
wise also the cup after supper, saying. This cup 
is the new testament in my blood, which is shed 
for you." 



SYMBOLISM OF ACTION. 

Chapter VII. 

Kneeling — Standing — Signing with the Cross — Bow- 
ing at the Name of Jesus — The Holy Eucharist — Flowers 
Used Symbolically — List of Flowers for Altar Use. 

It remains to consider the fifth, and last 
mode of symbolism, laid down at the beginning 
of this series, that of the Symbolism of Action. 

One writer thinks "it may be seen in the 
smoking of the pipe of peace and the burial of 
the war hatchet amongst the Sioux, in the 
passing round of the loving cup at the ban- 
quets of the city magnates. The rites of the 
Levitical priesthood afford many examples. 
The Arab custom of tasting salt with one's guests 
is a binding symbol of amity thereby estab- ^ , ,. . ^^ . 

■{' -I J 1 f Symbolism in Cnris- 

llSned. tian Art, Hulme,p. 10. 

To the Christian there are many examples 
that suggest themselves, as expressive of sym- 
bolism of action. What are some of these? 

The act of kneeling to pray, as expressive of 
adoration, humiliation, submission and 
blessing. 

The act of standing to sing, as expressive of 
praise and exultation. 

The signing with the cross, as a token of 
regeneration through Christ. 

The act of bowing at the name of Jesus, and 
towards the altar, which will be more fully re- 
ferred to further on in this lecture. 

The most solemn and sacred symbolic act to 
the Christian, is made when, in memory of the 



120 An Anglican Study 

command of the Master, the sacred cup and 
holy bread are taken as He ordained. 

One other act of ancient custom, that of 
blessing, so familiar an act of the patriarchs of 
old, Christ intensified and glorified just before 
His ascension, when "He led them out as far 
as to Bethany, and he lifted up his hands and 
blessed them. And it came to pass, while He 
blessed them, he was parted from them, and 
St. Lake 24:50-51. Carried up into heaven." 

There are other acts that will present their 
symbolic significance as the lecture proceeds. 

What do writers say in regard to kneeling? 
One authority states, "Kneeling, as a posture 
in divine worship, has seemed most natural and 
fit for a suppliant, in all ages and nations, 
probably from the time 'that men began first to 
call upon the name of the Lord.' In the 
Western Church the practice has always 
formed a part of the services, and has been en- 
forced by the bishops and councils. It is not 
only a voluntary act of personal humility and 
reverence, but also one that is required of 
every person as an individual, forming part of 
a large congregation, and to neglect it is to 
omit a duty imposed upon us by the customs 
of the church in the worship of A^lmighty 
God. The rubric in the prayer-book for the 
proper observance of public worship directs 
that all persons then present shall reverently 
kneel upon their knees when the General Con- 
fession, Litany, and other prayers are read. In 
the rite of Confirmation all those who receive 
the laying on of hands are to kneel, and in the 
marriage service, the Nuptual Benediction on 
the newly-married couple is received kneeling. 
In the administration of the Lord's Supper the 
communicants are to receive the same kneel- 
ing, as a signification of our humble and grate- 
ful thanks for the benefits of Christ's passion 



In Christian Symbolism. 121 

therein given to all worthy receivers, and for 
the avoiding any profanation or unseemly dis- 
order that might otherwise ensue. 

In the Eastern Church the practice is dis- 
similar to ours. Kneeling is not observed, but 
the whole congregation stands throughout the 
entire service, with heads bowed low in rever- 
ence during the prayers. Even in receiving 
the Holy Mysteries they do not kneel, esteem- 
ing that our human nature has been so exalted 
by the union with the Divine in the Person of 
our Lord, and that so lowly a posture does not 
comport with so joyful and comforting a ser- 
vice. Once only in the year do the people 
kneel in the service of the Greek Church, and church Cyciopsedia, 
that is on Whitsunday, or the descent of the by Rev. a. a. Benton,' 

Hoi y Ghost. ' ' P- 423, Kneeling. 

That there was a symbolic significance and 
importance to the act of kneeling in itself is 
further strengthened by the following reference. 

"The practice of kneeling in confession, in 
prayer, and in adoration, is of great antiquity ; 
a reference to it being apparently made in 
Isaac's blessing on Jacob, compared with his cen. 27:29. 
brother's subsequent conduct and with anoen. 42:6. 
edict of Pharaoh 'bow the knee' and again inoen. 4i:43. 
the second commandment. David says, 'Let ex. 20:5. 
us worship and bow down, let us kneel before 
the Lord our Maker.' 'We will go into his ps. 95:6. 
tabernacle, and fall low on our knees before his 
footstool.' Solomon 'kneeled on his knees' ps. 132:7. 
before the altar of the Lord, with his hands 
spread up to heaven. Ezra fell upon his knees, 1 Kings 8:54. 
and spread out his hands unto God, and made 
his confession. Daniel 'kneeled upon his knees Ezra 9:5-15. 
three times a day,' and prayed 'as he did 
afore time.' The holy martyr Stephen Daniel 6:io. 
*kneeled down and cried with a loud voice,' 
praying for his murderers. So Peter 'kneeled Acts 7:60. 
down, and prayed' and also St. Paul. Acts2o^3'3- 21-5 



122 An Anglican Study 

That the posture was a customary one may- 
be inferred from the conduct of the man be- 
st. Matt. 17:14. scechiug Christ to heal his son, and of the rich 
it* Mark v£' you^g man, as also of the leper ; but the ex- 
ample of our blessed Lord himself, who, though 
without sin, yet 'kneeled down' when he 
St. Luke 22:41. prayed, cannot but recommend the practice to 
every devout worshipper. Some of the early 
Christians so frequently used this posture of 
humility, as visibly to wear away the floor on 
which they kneeled; and Eusebius says of St. 
James, that he had, by the continual exercise 
of his devotions, contracted a hardness on his 
knees, like that on the knees of the camels. 
The practice was altogether so common, that 
prayer itself was termed 'bending the knees. ' 
It is to be noticed, however, that the primitive 
Christians, out of a peculiar regard for the 
Lord's day, and the joyful season between Easter 
and Whitsuntide, did (with the exception of 
the penitents, who were denied this privilege) 
then perform their whole devotions standing^ 
instead of kneeling; and this custom was con- 
firmed by the Council of Nice, for the sake of 
uniformity. It was from this circumstance, 
probably, that the Ethiopic and Muscovitish 
Churches adopt the attitude of standing gen- 
erally, a custom which they continue to this 
day. 

Bingham remarks (book 13:8.4) that though: 
these two postures of prayer were very indiffer- 
ent in their own nature, yet it was always 
esteemed an instance of great negligence, or 
great perverseness, to interchange them un- 
seasonably one for the other, that is, to pray 
kneeling on the Lord's day, when the church 
required standing; or standing on other days 
when the rules and customs of the church 
required men to kneel. And therefore, as the 
Canons of Nice and Trullo reflect upon those 



In Christian Symbolism. 123 

j who were superstitiously bent upon kneeling on 
the Lord's day, so others with equal severity 
complain of the remissness and negligence of 
such as refused to kneel at other times, when 
the church appointed it. It is a very indecent 
and irregular thing, says Caesarius of Aries, 
that when the deacon cries out, 'Let us bend 
the knee,' the people should then stand erect 
as pillars in the church. These are but small 
observations in themselves, but of great con- 
sequence, we see, when done perversely, to the 
scandal and disorder of the church, whose great 
rule in all such cases is that of the apostles 
'Let all things be done decently and in order.' 
In the whole of the primitive religious ser- 
vice there is not any circumstance casual-, 
,j every particular, every gesture, is instructive. 
! In the presence of God man fell upon his face 
) to the ground; and, by that act humbly con- 
ji fessed his original; hence bowing to the ground 
\ is the formal word for worshipping, which it 
I was high treason to practice toward any idol. 
Ij And, when from that posture, man raised him- 
'' self to praise and to bless God, he raised him- 
, self no farther than the knee, still so far retain- 
li ing the posture of humility ; and from this post- 
, ure the word to signifv blessing is taken. As 
bowing to the ground is used to signify 
worshipping, kneeling is used to signify bless- 
ing. Forbes'' Thoughts on Religion. 

Posture of body is a thing which, how slight 
soever it may now be thought to be, yet is not 
without its moment, if either Scripture, or reason 
or the practice of holy men may be our judges. 
For if we ought to glorify God in our bodies, as 
well as in our spirits ; if we are forbidden to 
bow down before a graven image, lest we 
should thereby be thought by God to impart 
his honor to it; in fine, if our Saviour refused 
to fall down, and worship the devil, upon the 



124 An Anglican Study 

account of God's challenging that honor unto 

himself; then must it be thought to be our 

duty to make use of such a posture of body 

towards God, as may bespeak our inward rever- 

Hook's Church Die- ence, and particularly in prayer, which is one 

tionary, Revised, pp. of the most immediate acts of the glorification 

805-306. of him. Towerson on the Creed. ' ' 

With all these references to the reverential 
significance in the act of kneeling, the fact that 
such a posture is indeed an example of Symbol- 
ism of Action will surely be apparent to all. 
And with what different feelings will the Chris- 
tian observe the forms of the church, when to 
each is there found to be a depth of meaning 
going far back to the time when Christ walked 
on the earth, and beyond that even, to the time 

2. Chron. 6:13. of Solomon. 

The act of standing while singing and in 
other portions of the service has its symbolic 
significance also. "The rubric directs stand- 
ing at certain times in the service. We stand at 
the opening of the service as an act of reverence. 
So in acts of praise, as in the anthems and the 
hymns, and as showing reverence when the 
gospel is read, and when notice of the com- 
munion is given. Standing in prayer was a 
Jewish custom as well as kneeling. Solomon 
knelt, so also Daniel. The Pharisee stood. 
Standing is now the posture of the Easterns in 
Church Cyclopaedia, the Suuday scrviccs, except for the fifty days 

by Benton, p. 708. of PcntCCOSt. ' ' 

"Standing. The posture enjoined by the 
church at several parts of divine service, as, 
for instance, at the exhortation with which the 
service of morning and evening commences, and 
at the ecclesiastical hymns. In the Primitive 
Church the sermon was listened to standing; 
and in some churches the people stood praying 
on the Lord's day, and during the fifty days 
after Easter, because it was not then so fitting 



In Christian Symbolism. 125 

to look downwards to the earth, as upwards to ^io^ary'^ Rev[s^d,^'p" 
their risen and ascended Lord." 522. 

It will be noted in these references quoted 
regarding the customs of the early church and 
the Greek church, that the Anglican and West- 
ern Churches are more alike in their observance 
of the acts of kneeling and standing, than the 
Greek and Anglican. 

The signing with the Cross, as another ex- 
ample of the Symbolism of Action, may be next 
considered. 

How far back does this custom date? and 
what its origin? are questions the thoughtful 
may well ask. 

The act of signing the Cross on the person symbols and Em- 
baptized is illustrated by Mrs. Twining, found blems of Early and 

as early as seventh or eighth century. The Mediaeval christian 

r i-u u 4.- J -i-u iU • r Art, L. Twining, p. 142, 

signing ot the person baptized with the sign or j^^ggg 
the Cross has come down in the church, and is 
thus referred to : 

"The sign of the cross is appointed to be 
used at baptism. After the priest hath baptized 
the child, he receives it into the congregation 
by this solemnity declaring that he is by bap- 
tism made a member of the church. (I Cor, 
12:13). 'We are all baptized into one body.' 
And when he thus receives it, he signs it with 
the sign of the cross, as of old it was wont, 
according to St. Augustine ; and on the fore- 
head, the seat of blushing and shame, that he 
may not hereafter blush and be ashamed of the 
disgraced cross of Christ, as St. Cyprian saith. 
By this badge is this child dedicated to his ser- 
vice, whose benefits, bestowed upon him in 
baptism, the name of the cross in Holy Scrip- 
ture does represent." * * * "Where the 
book says 'and do sign him with the sign of 
the cross in token,' etc. I understand the 
book not to mean, that the sign of the cross 
has any virtue in it to effect or further this 



126 An Anglican Study 

duty ; but only to intimate and express by that 
ceremony, by which the ancients did avow their 
profession of Christ crucified, what the congre- 
gation hopeth and expecteth hereafter from the 
infant; namely, that he shall not be ashamed 
to profess the faith of Christ crucified, into 
which he was even now baptized." * * * 
"Upon the whole the ceremony is exceedingly 
proper, and very innocent ; used by most Chris- 
tians; approved by all the ancients, and by 
some of the most eminent reformed divines ex- 
pressly; and condemned by no church; so that, 
if this ceremony be rejected by any, they ought 
to consider that the fault is in themselves, not 
Tj ,, r-u 1. T^- in the thinsf, at which offence is taken, but 

Hook's Church Die- . , ^. • /• i i 111 • 1 , 

tionary, Revised, pp. Honc justly givcn, if the church bc but rightly 
179-180. understood. Dean Comber,''' 

Another example of the symbolism of action, 
in the Sacrament of Baptism is found in the 
"water" used, to denote the purifying, and 
which the churchman is taught, is "the out- 
ward and visible sign." 

There are other examples of the^signing with 
the Cross, besides that of its use in Baptism, 
Church Cyclopaedia, and it is Stated that "it was used once univer- 
by Benton, p. 209. sally as a gcsturc of benediction." 

One authority states that "the custom of 
crossing one's self, was first practiced by the 
Symbolism in Chris- Christians about A. D. 110, to distinguish 
tian Art, Huime, p. 85. them f rom the Pagaus. ' ' 

Another authority refers the origin of the 
"custom of crossings in honor and commemora- 
tion of Christ, to the third century." * * 
"The sign of the cross is made not only by 
Roman Catholics, but by the members of the 
Eastern Churches also; there are, however, 
distinctive differences in the manner in which 
it is made. It is admitted by the Lutherans 
as a commemorative sign of the atoning death 
of Christ, but by many Protestants is rejected 



In Christian Symbolism. 127 

as a human invention in worship, and as tend- 
ing to superstition. It was very generally used 
during the middle ages, and still is among the 
less enlightened peasantry in some Roman 
Catholic countries as a sort of charm, or as 
affording some security, like an amulet, against 
all evil, and particularly against evil spirits and 

^ r, ,, ^ c i. Chambers' Encyclo- 

Witchcraft. p^dia, Vol. 3,p.332. 

A third authority couples the two dates thus, 
*^ Ch. and Civil Hist. \ Early in the second 
century the Christians seem to have signed 
with the cross. In the third century they sup- 
posed that the cross was a preservative against 
all evils, especially against the machinations of 
evil spirits and therefore entered on no enter- American Encycio- 
prise of importance without first crossing them- psedic Dictionary, voi. 
selves." 2, p. 1196. 

"The cross was in constant use by the early 
Christians as a manual sign, Tertullian ('De 
Corona,' pr. 3) says, 'In all our travels and 
movements, in all our coming in and going 
out, in putting on our shoes, at the bath, at 
the table, in lighting our candles, in lying 
down, in sitting down, whatever employment 
occupies us, we mark our forehead with the 
sign of the cross;' and St. Ambrose says that Early christian Art, 
it was still the custom in his time: 'Christians, by e. l. Cutts, d.d. 
at every act, sign the cross on their foreheads. ' " p. i96. 

The act of signing oneself with the sign 
of the cross is found therefore to prevail in the 
Eastern as well as in the Roman or Western 
Church. Occasionally members of the Angli- 
can Church are observed, who thus use the 
sign of the cross, against which there seems to 
be no law, save that which obtains through the 
unwritten law of custom. 

The "bowing at the name of Jesus, "is a 
custom very widely observed, ''Bowing at the 
name of Jesus. It is enjoined by the eigh- 
teenth canon of the Constitutions of the Church 



Isa. 45:23; Phil. 2:9 
etc. 



128 An Anglican Study 

of England, that 'when in the time of divine 
service the Lord Jesus shall be mentioned, due 
and lowly reverence shall be done by all per- 
sons present, as it hath been accustomed; testi- 
fying by these outward ceremonies and gest- 
ures, their inward humility, Christian resolu- 
tion, and due acknowledgment that the Lord 
Jesus Christ, the true eternal Son of God, is 
the only Saviour of the world, in whom alone all 
the mercies, graces, and promises of God to 
mankind, for this life, and the life to come, are 
fully and wholly comprised.' We do not bow 
when our Lord is spoken of as Christ ; for when 
we speak of him as the Christ, we speak of his 
office, the anointed, the prophet, priest, and 
king of our race, which implies his divine 
nature. But Jesus is the name of his human- 
ity, the name he was known by as man; when- 
ever, therefore, we pronounce that name, we 
bow to signiiy that he who for our sake became 
man is also God. 

The usage of bowing at the name of Jesus 
seems founded on that Scripture where it is 
declared, that 'God hath given him a name 
which is above every name ; that at the name 
of Jesus every knee should bow, and every 
tongue should confess that Jesus Christ is Lord, 
'to. the glory of God the Father.' " 

"Though the rubric be silent herein, yet the 
canon of our Church (the Church of England) 
thus enjoins: 'Now if such reverence be due to 
that great and ever blessed name when it is 
mentioned in the lesson, or sermon, how much 
more in the creeds, when we mention it with 
our lips, making confession of our faith in it, 
adding the very reason given in the canon, that 
we believe in him as the only Son,' or 'only- 
begotten Son of God,' the Saviour of the 
world; and when, too, we do this 'standing,' 
which is the proper position for doing rever- 



In Christian Symbolism. 1.29 

ence? Dr. Bisse'' * * * "There is no 
rubric or canon in the English Church requir- 
ing this adoration in the creed only, and in the 
American Church no rubric or canon requiring 
it to be done at any time." * * * "Bing- 
ham states the following, as the origin of the 
custom under consideration. 'The name of 
Jesus was become a name of infamy among the 
Jews; whereas, the name of Messias, or Christ, 
and God the Holy Ghost, were always names of 
honor and respect among them ; for this rea- 
son, the Church of Christ, to do a peculiar 
honor to their Lord, took up this decent cus- 
tom of expressing their respect to him at the 
mention of the very name by which the Jews 
blasphemed and reviled him; to show that that 
Jesus whom they hated and reproached, was hon- 
ored by them as their Lord and Christ.' (French 
Church Apology, Book 4, Chap. 8). Bowing 
at the name of Jesus, is therefore extra- 
rubrical, and though if freed from supersti- Hook's church Dic- 
tion, may not be comdemned, cannot be en-tionary, Revised, pp. 
forced." 7i-72. 

The custom of bowing to the East, and 
towards the Altar, are expressions of the Sym- 
bolism of Action that at first seem difficult to 
harmonize; let a few quotations' bearing upon 
the early observance be cited, and the thought- 
ful Christian will surely see some type or em- 
blem that does indeed lend a solemnity and 
significance to the action that at first claimed 
the appellation "Superstitious Ritual." 

"In the aspect of their churches, the ancient 
Christians reversed the order of the Jews, plac- 
ing the altar on the east, so that in facing 
towards the altar in their devotions they were 
turned to the east. * * In the ancient 
church it was a ceremony almost of general use 
and practice, the turning the face to the east 
in their solemn adorations. * * Several 



130 An Anglican Study 

reasons were given by the Fathers for this. 
First, as the east, the place of the dayspring 
from darkness, was the Symbol of Christ, 'The 
Sun of Righteousness. ' Second, as it was the 
place of paradise, lost by the fall of the first 
Adam, and to be regained by the second 
Adam. Third, that Christ made his appear- 
ance on earth in the east ; there ascended into 
heaven ; and thence will again come at the last 
day. And fourth, that the east, as the seat of 
light and brightness, was the most honorable 
part of the creation, and therefore peculiarly 
ascribed to God, the fountain of light, and 
illuminator of all things. * * Turning 
towards the east is an ancient custom, as in- 
deed, in most religions, men have directed their 
worship some particular way. And this prac- 
Hook's Church Die. ^i^^ ^^^^^ intended only to honor Christ, * * 

tionary, Revised, p. it ought not to be Condemned as superstitious. 

206. Seeker. ' ' 

The custom is objected to by many, and few 
churches or cathedrals in America observe this 
beautiful and suggestive symbolism. The vast 
strides that have been made in science, declare 
that east and west are but relative terms; let it 
be so, yet will the mind of man ever associate 
the east with the rising sun, and in the rising sun 
the Christian will see a type, figure, emblem or 
symbol of Christ. How grateful then the heart 
of each Christian would be, if when they turn 
to the altar, as the highest place of reverence 
in the church, they were also turning towards 
the east. A custom so ancient would surely be 
better followed than disregarded, and the 
church would be saved the unfriendly criticism, 
that when priest and people turn towards the 
altar they are turning away from the east. 

The position of the Christian Church with 
Altar in the East, is perhaps not properly a Sym- 
bol of Action, yet it is so closely associated with 



In Christian Symbolism. 131 

the action of Bowing, that it must be con- 
sidered in connection therewith. 

That the point of placing the Church or cathe- 
dral, with Altar to the East has long been criti- 
cised, and reveals a custom associated with 
Paganism, need not be denied; but will the 
reader pause to remember that in the first lec- 
ture , it was shown that back of all, symbolism 
was linked with God in "the beginning." All 
these Pagan customs which the Christian 
Church seems to have adopted, are hers, by- 
right of their beginning at creation. Even this 
custom of worshipping towards the East, can 
be found symbolized in the first book of the 
Bible, as the following quotation indicates; 
"that as man was driven out of Paradise, which 
is towards the East, he ought to look that way, 
which is the emblem of his desire to return 
thither. St. Damascen (lib. iv. c. 14, Orthod. 
Fid. ) therefore tells us that because the Script- 
ures say that God planted Paradise in Eden 
towards the East, where he placed the man which 
he had formed, whom he punished with banish- 
ment upon his transgression, and made him 
dwell over against Paradise in the western 
part, we therefore pray (says he), being in 
quest of our ancient country, and as it were, .-^'".^^^'^ ^°F«**'^ 

X.- Cj. -^j •u-'tajj.!-^ >> ' Antiquities, Vol. 2, pp. 

pantmg after it, do worship God that way. 317.318. 

"The ancient practice of the church of wor- 
shiping towards the east * * * they did, 
that by so worshiping they might lift up their 
minds to God, who is called the Light, and the 
Creator of Light, therefore turning, says St. 
Austin, our faces to the east, from whence the 
day springs, that we might be reminded of 
turning to a more excellent nature, namely, .^^^"'^'f ^°p°J*'' 

^1 T J . > •> . J "> Antiquities, Vol. 2, p. 

the Lord. 317. 

Let the old custom be adhered to where prac- 
ticable, of the symbolic building of Cathedral 
or Church, with Altar to the East, as referring 



132 An Anglican Study 

to the "Sun of Righteousness," though such 
references as the following may be quoted to 
show how many have deviated from this 
observance, and why. "White, in his History 
of Selbourne, p. 323, says, in speaking of the 
church: 'I have all along talked of the east 
and west end, as if the chancel stood exactly 
true to those points of the compass ; but this is 
by no means the case, for the fabric bears so 
much to the north of the east, that the four 
corners of the tower, and not the four sides, 
stand to the four cardinal points. The best 
mode of accounting for this deviation seems to 

Brand's P op ul a r ^^' ^^^^ ^^^ WOrkmCn, who WCrC probably em- 
Antiquities, Vol. 2, p. ployed in the longest days, endeavored to set 
324. the chancels to the rising of the sun.' " 

It is stated, "that 'in the days of yore, when 
a church was to be built, they watched and 
prayed on the vigil of the dedication, and took 
that point of the horizon where the sun arose 
for the east, which makes that variation, so 
that few (churches) stand true except those 
built between the two equinoxes.' " The same 
writer says, " 'I have experimented some 
churches, and have found the line to point to that 
Captain Silas lay-p^^-j- ^f ^j^g hoHzon whcrc the sun riscs on the 

lar Antiquities^ Vof 2 ^^y ^^ ^^^^ Saiut to whom the church is dedi- 

p^ 6. "" ' ' 'cated.' " 

"Bowing towards the Altar is an ancient 
practice in the church, derived from a belief in 
the superior sanctity of the east. There are 
scriptural allusions to the east, from which 
notions of this kind may have been drawn ; 
'And, behold, the glory of the God of Israel 
came from the east.' Ezek. 43:2. 'For we 
have seen his star in the east.' St. Matt. 2:2. 
There was also an early legendary belief that 
Christ would come to judgment in the east. 
For these, not to mention other reasons, it be- 
came customary to place the altar, with the 



In Christian Symbolism. 133 

crucifix and other symbols, at the eastern ex- 
tremity of the church, to which all bowed. In 
the Romish Church, the practice is still kept up 
of bowing towards the altar, or more correctly 
towards the Host, on entering and departing 
from the church. * * It was further a cus- 
tom in the early Christian Church to bow at 
the name of Jesus. This is still done in the 
Church of Rome, at whatever part of the ser- 
vice the name occurs. In the Church of Eng- chamber,' Encycio- 
land, it is customary to bow at the name ofpsedia, voi. 2, p. 288, 
Jesus only in repeating the creeds.''' Bowing. 

Notice the statement of this authority; in 
mentioning the crucifix those who are not 
churchmen so sadly confuse the customs of the 
Western or Roman Church, with the customs 
of the Anglican Church. 

The crucifix may at times appear in the An- 
glican Church, but where there is no written 
law of prohibition to be found, in church rules, 
as in all others, a precedent established by gen- 
eral use, becomes a law. The presence of the 
crucifix therefore in any Anglican Church, at 
once suggests the question as to its right to be 
there. 

The churchman that countenances the plac- 
ing of the crucifix in the Anglican Church, is 
unconsciously, it may be, lending his influence 
away from his own division of the Catholic 
Church, which should in its customs present 
the purest and truest forms of the primitive 
church. It was left for the sixth century to 
develop the crucifix, the beginning of the Dark 
Ages ; why should its use be encouraged by the 
Anglican Church in this nineteenth century 
that is enlightened by reviewing past errors? 
One point to be noted, is the effect upon the 
individual that dwells upon the crucifix rather 
than the cross. Is it not found that the cruci- 
fix develops a sad and despondent Christian, as 



131 An Anglican Study 

he views the suffering Christ, while on the other 
hand, the constant presence of the cross en- 
ables the Christian to look beyond the suffering 
Christ to the glorified and risen Saviour, there- 
by developing a Christian cheery and bright, 
in the anticipations of the resurrection. "Sym- 
bolism has taken a very important part in the 
development of certain Christian ideas, * * * 
but it has ever been a difficulty to draw the line 
between what is perfectly allowable, what is 
doubtful, and what must be absolutely rejected, 
as, for instance, the attempt to represent the 
Supreme Being. To us the Crucifix, or the 
representation of the Virgin Mother and the 
Church cyciopjedia ^^^Y Infant, havc both ideas behind them that 

by Benton Symbol, p.' make their usc most doubtful, if they do not 

718. condemn them. " 

In reference to this mode of Symbolism, viz., 
that of Action, an authority thus speaks : ' ' One 
more part of Symbolism is to be noticed. That 
which the divine wisdom of our Lord has 
attached to certain acts. The pouring of the 
water in the act of Baptism, the breaking of 
the Bread and the taking of the Cup in the Holy 
Communion, are by His example. The raising 
of the hands to bless, and the kneeling in 
prayer and bowing as a worship, are religious 
acts which are common to all religions and to 
all faiths. 

The white robes of the ministers of God are 

noted as the symbol of righteousness. In fact, 

no doctrine of religion can take form in out- 

church Cyclopedia, Ward act without the use of some symbolism or 

by Benton, p. 719. Other. ' ' 

How closely are these sacred acts associated 
with the last days of the Saviour upon earth. 
In that "guest chamber" where He had told 
them to prepare for that "last supper" that 
was the beginning of the observance of that 
Sacred Mystery, how solemn the act of taking 



In Christian Symbolism. 135 

the cup, and giving to the disciples, after hav- 
ing broken the bread, types of His own body- 
not then broken, and the sacred blood not then 
poured out for the redemption of the world. 
In the lives and thoughts of all, there are some 
acts and thoughts too hallowed to be dwelt up- 
on in words. These uplifting acts ordained by 
Christ Himself, as types of the spiritual 
blessedness conveyed to the faithful, are too 
solemn and precious to be more than briefly 
referred to, and are left for the inward fulfill- 
ment in the individual. One step more in the 
life of the Saviour, and the disciples are led to 
the mount and to the moment when Christ with 
hands uplifted in blessing, is taken up into 
heaven, and "a cloud received Him out of 
their sight." 

When the full force of the act of blessing is 
realized, and the ancient custom studied, the 
meaning of the crowning act of Christ's life 
upon earth is made plainer and has a deeper 
significance, "St. Luke 24:50. And he lifted ' 
uf His hands, and blessed them. ) 

The form of blessing the people used by 
Aaron and his sons is recorded Numb. 6 :23-27. 
Though our Lord might not use the same form 
in blessing his disciples, yet in doing it he lifted 
up his hands, as they did. Maimonides says, 
that 'the priests go up into the desk after they 
have finished the morning daily service, and lift 
up their hands above, over their heads; except 
the high-priest, who does not lift up his hands 
above the plate of gold on his forehead ; and 
one pronounces the blessings, word for word, ' Burder's oriental 

Gill^ inloC. " Customs, p. 176. 

"Numb. 6:24. The Lord bless thee, and 
keep thee.) The high-priest was accustomed 
annually to bless the people when assembled 
together. 'During this ceremony, he not only 
three times pronounced the eternal benediction. 



136 An Anglican Study 

and each different time in a different accent, 
but, in the elevation of his hands, extended the 
three middle fingers of his right hand in so con- 
spicuous a manner, as to exhibit a manifest 
emblem of the three Hypostases; to whom the 
triple benediction, and repetition of the word 
Jehovah in a varied tone of voice, evidently 
pointed. I am credibly informed, that at this 
day, on certain high festivals and solemnities, 
this form of blessing the people is still adhered 
to by the Jewish priests, but is attempted to be 
explained by them, as if allusive to the three 
patriarchs, Abraham, Isaac and Jacob ; an ex- 
planation of which it may be doubted, whether 
it savour more of impiety, or absurdity. * 
Maurice's Ind. Ant. Vol. 4, p. 209." 

"Captain Innys, of Madras, has asserted. 

that the Mohammedan priests also, at present, 

use the same form ; this is a strong collateral 

. circumstance; for, since it is notorious that 

Mohammed was indebted for a considerable 

part of his theological knowledge to the secret 

instructions of a Jew, he probably learned from 

that Jew the symbol ; and it was frequently 

Burder's Oriental practiced in the Arabian mosques, so early as 

Customs, pp. 175-176. the scvcuth ccutury. ' ' 

The quotation just made in reference to the 
blessing of the high-priest loses its force if the 
term "Hypostases" is not understood. Web- 
ster's dictionary says: "Hypostasis; Gr. I, 
Substance, or subsistence; hence used by the 
Greek theologians to denote especially each of 
the three subdivisions of the God-head, the 
Father, Son, and Holy Spirit, which are called 
by the Latins fersonce^ whence the modern 
\,^xvi\^ persons applied to the God-head." 

How wonderfully this old symbolism links 
together the doctrine of the Trinity, as found 
in the Old and New Testaments, which has 



In Christian Symbolism. 137 

been referred to in a previous lecture in this 
series. 

Many other instances might be cited from 
Scripture where the symbolic act of placing 
the hands in blessing is described, enough has 
been said on the subject to suggest to the 
student careful observance as he reads, when 
he will find "between the lines" many hidden 
truths before passed over. 

With the crowning act of the Saviour's life 
as he blessed His disciples, and promised His 
coming again in like manner, the subject in 
hand, the Five Modes of Symbolism, closes. 

The different examples under each division 
that have im.pressed the reader with the greatest 
force will vary with the individual, but it is hoped 
that such emphasis has been placed upon the 
following named examples that they will receive 
at least a degree of importance over the others. 

In the Symbolism of Form ; the Cross as the 
*' Supreme Symbol" which was found to be a 
Super Symbol. 

In the Symbolism of Color; the ''Five 
m-ystic colours of the Law. ' ' 

In the Symbolism of Number; the number 
three. 

In the Symbolism of Language ; the Creeds, 
"There are three symbols (watchwords or 
tokens, such as are used among soldiers of a 
garrison, to recognize their comrades, and to 
detect insidious intruders) — the first of the 
Apostles, the second of the Nicene Council, the 
third of St. Athanasius ; the first for instruction 
in the faith, the second for the explanation of 
the faith, the third for the defense of the faith. 
Three in name, but one in fact, and which ex- „ . , ch h d- 
cept a man believe faithfully, he cannot be tjonary,' Revised, 'p" 
saved." ne. 

In the Symbolism of Action; the observ- 
ances ordained by "Christ Himself" of the 



138 An Anglican Study 

"Holy Mysteries," as a means whereby we 
receive a pledge of the inward and spiritual 
grace. 

The Five Modes of Symbolism having thus 
been considered, the subject might be thought 
ended for these papers. Not so; linked with 
this subject of Symbolism in the Anglican 
Church are two other points that need separate 
consideration. One refers to those who ex- 
ecute the work of placing these Symbols on the 
Vestments and Hangings for the Anglican 
Church, and which will be considered under 
the title. The Needle Worker, and Embroidery. 

The second refers to the articles upon which 
the symbols shall be wrought and will be found 
in a lecture under the title of Vestments. 

Befo-re closing the pages of this chapter, a 
few references will be made to the flowers and 
plants named for symbolic use. 

Plants and Flowers have a symbolic signifi- 
cance; foremost among them might be men- 
tioned the Vine and Palm. "The vine as a 
symbol of Christ, based upon His own words, 
'I am the vine,' has at all times been freely 
employed." 

"The Palm, the symbol of victory, is one of 

the earliest of Christian symbols, and com- 

. . memorates, times without number in the cata- 

tiaJ A^'nuime, pp^coinbs, the triumph of the martyrs for the 

194-195. faith, ' ' 

"The Palm is also associated with the triumph- 
ant entry of Christ into Jerusalem, com- 
memorated thereafter as Palm Sunday. It was 
the special emblem of Judaea. 
Symboi>sm in Chris- .ggneath her palm, here sad Judsea weeps.'— /^o/e." 

tian Art, Hulme, p. 198. t' » J f r 

"The White lily, or Annunciation lily, from 
its association in art with the Virgin Mary, is 
one of the commonest of floral symbols. * * * 
In Roman Catholic countries, the snow-drop 



In Christian Symbolism. 139 

is, from a similar motive, dedicated to the 
Virgin Mary; and on the festival of the An- 
nunciation in March, when white lilies are not symbolism in chris- 
procurable, her altars are decked with it." tianArt,Huime,p.i98. 

The Passion flower is of course associated 
with the sufferings of our Lord. The interpre- 
tation of the symbolic meaning assigned to each 
part is overdrawn, but interesting to know; 
thus, "The ten members composing the 
perianth of the flower, we are told, represent 
the apostles, Peter being absent because he 
deceived his Master, and Judas because he be- 
trayed Him. The rays within the flower are 
the nimbus or glory. The ovary is supposed to 
resemble a hammer, while the three styles with 
their rounded heads are the nails, the five 
stamens being the five wounds. Though the 
passion flower is now not uncommon, our 
readers will remember that it was introduced 
from abroad ; hence it does not occur in early ^ i, i- ■ r^u • 

, . 1 1 1 -11 • • bymbolism in Cnns- 

ij^nglish Art m our cathedrals, illuminations or tian An, Huime, pp. 
elsewhere," writes an Englishman. 198-199. 

Amaranth: " the name is derived from two 
Greek words, signifying not withering. The 
passage in our New Testament, 'a crown of 
glory that f adeth not away, ' is in the original 
Greek, 'the amaranthine crown of glory.' 
Milton refers to it in 'Paradise Lost.' 

'Immortal amaranth, a flower which once 
In Paradise, fast by the Tree of Life 
Began to bloom, but, soon for man's offense 

To Heaven removed where first it grew, there grows Symbolism in Chris- 
And flowers aloft, shading the Fount of Life.'" tian Art, Hu4me,p. 199. 

It seems that the Rose is but twice referred 
to in scripture, and it is stated that commenta- 
tors generally agree, that it is not the plant and 
flower we now like to associate with the Lord. 
It is thought that the rose of scripture was a symbolism in chris- 
bulbous-plant resembling the Narcissus. tian Art,Huime,p.i99. 

However this may be, the Rose will certainly 



140 An Anglican Study 

continue to be associated with festival occa- 
sions, wherein Christ is exalted ; and to find the 
Narcissus would surely require an explanation 
to people in general. 

"The Olive has been celebrated from the 

earliest ages, * * As sacred history made 

the Olive emblematic of peace, so from its great 

Symbolism in Chris- valuc to man has it bccu also considered the 

tianArt.Huime, p.201. sign and cxprcssion of plenty." 

"The Celtic priesthood regarded the Yew as 
an emblem of immortality and therefore 
planted it in their sacred groves." The fact 
generally conceded that Christian churches 
were erected on the "sites of old heathen 
Symbolism in Chris- shrines" may account for the Yew tree in the 
tianArt,Huime,p.2oi. many country church-yards of England. 

The Rose, or what is known as the Ecclesias-' 
tical Rose, the same as the Tudor Rose, is a 
conventionalized form and is found in the An- 
glican Church associated with Christ on festival 
occasions. It also symbolizes the English 
Church. Scotland has the Thistle, hence the 
American Bishop in symbolizing his Ecclesias- 
tical office, portrays the Tudor Rose and the 
Scotch Thistle, to represent the two lines that 
united in establishing the American Bishopric. 

The thistle has also another significance; 
used during the penitential seasons of the 
church, it indicates the sins for which the 
Christian laments. 

The Pomegranate represents fullness, or 
plenty, and is an emblem of "fullness of the 
Gospel of Peace." It is found in a conven- 
tionalized form woven in Ecclesiastical silks, 
and materials for altar hangings and dossals. 

Wheat naturally suggests the "staff of life" 
and is associated with the "bread of life," 
which is "spiritually taken." 

A random note without the authority given 
for the statements, the compiler finds, and 



In Christian Symbolism. 141 

copies though its value is lost because of the 
want of the name of the author. It may be a 
personal deduction from general reading, or it 
may be a synopsis of statements in one work. 

FLOWERS AS SYMBOLS IN ECCLESI- 
ASTICAL WORK. 

Christ. The Church Rose, which is similar to 

the Rose of the Heraldry, or the Tudor 

Rose. 
The Virgin. The White Lily, which is often 

the emblem of purity. 
Humility. The Lily of the Valley. 
Strength. The Oak. 
Victory. Palm branches. 
Peace. The Olive. 
The Sacrament. Grapes, Vine leaves, Wheat 

ears. 
The Fall of Man. Apple. 
Power, Dominion and Glory. Pomegranate. 
Passion flower, if of white, denotes Christ's 

Innocence; if red, Christ's Martyrdom. 
In "The Christian Year 1898 Kalendar there 
is an article entitled "Floral Decorations for 
the Altar and Chancel," in which there are j^^^^^^'J^^J^^^^^^ 
some interesting suggestions, though the writer pie, from The church 
falls into the almost universal error of conf us- Kaiendar co.. New 
ing the terms Re-table and Super- Altar; to ex-^""^^- 
plain this error it is only necessary to refer to 
"The Ritual Reason Why," by Charles Walker, 
page 25, where a foot-note fully defines a 
Super-Altar thus, "The Super- Altar is a small 
portable slab of stone, which is placed on 
Altars which lack a stone mensa, or have not 
been consecrated." 

In regard to the grouping of flowers, the 
same article states, "It is indispensable for 
any effect that flowers of the same kind and 
colour be grouped together, * * with a 



14:2 An Anglican Study 

view then, of producing the effect of one or 
two prominent colours in an Altar vase ii: is 
desirable to use for the purpose, flowers entirely 
of the same kind and colour, according to 
particular seasons and festivals. A list of 
appropriate flowers will be found below." 
Before quoting the list referred to the compiler 
would ask the reader to carefully note the sen- 
tence in the above quotation "according to 
particular seasons and festivals" together with 
the fact, that in the list referred to, only two 
colours are mentioned for every month and the 
colours are white and red, to be used 
throughout the whole year; being the two 
colours prescribed by the Sarum Use, as quoted 
in the chapter in this series, on color. How to 
explain this coincident, it is hard to decide, but 
it surely indicates, that somewhere in the An- 
glican Church there was a predominance of ex- 
pression for the use of the Sarum Colors, that 
is made apparent in the writings of modern 
churchmen as they collect data from the past, 
even if they fail to see the connection. The 
following is the list referred to. 

"The following list of red and white flowers, 
compiled with great care, and with the assist- 
ance of a practical gardener, is appended in the 
hope that it may be found useful in indicating 
what flowers — making allowance for the vari- 
ableness of the seasons — may be obtained for 
the different feasts of the church: 

January. 

White. Christmas Rose. Helleborus niger. 

Laurustinus. 

Snowdrop. Galanthus nivalis. 

Wall speedwell. Varonica arx>ensis. 
Red. Common maidenhair, Asplenium trichomanes. 

Bearsfoot. Helleborus fcetidus. 
February. 
White. Dwarf bay. Daphne mezereon. 

White crocus. Crocus albus. 

Herb S. Margaret. Bellis per ennis plena. 



In Christian Symbolism. 143 

Red. Common Primrose. Primula verna. 

Persian cyclamen. Cyclamen Persicum. 
Cloth of gold. Crocus Susianus. 

March. 

White. Early daffodil. Narcissus pseudo-narcissus . 

Great scented jonquil. Narcissus Ic^lus. 

Common marigold. Calendula oficianalis. 

Wood anemone. Anemone nemorosa. 
Red. Upright chickweed. Veronica triphyllos. 

Sweet tnlip. Tulipa suaveolens. 

April. 

White. White violet. Viola odora alba. 

Cypress narcissus. Narcissus orientalus albus. 
Red. Red polyanthus. Primula polyantha purpurea. 

Borage. Borago officinalis. 

Herb S. Robert. Geranium Robertiannm. 

Crimson currant. Ribes sanguinea. 

Crown imperial. Corona imperialis rubra. 

May. 

White. White stock gillyflower. Matthiola incana 

alba. 
Apple-blossom. Pyrus mala. 
Lily of the valley. Convalaria Maralis. 
Solomon's seal. Convalaria polygonatum. 
White star of Bethlehem. Ornithogalum umbel- 

latum. 
Red. Standard tulip. Tulipi Gesneri. 

Red campion. Lychnis dioica rubra. 

Cross flower. Polygala vulgaris. 

Common peony. P(Eonia officinalis. 

Meadow lychnis, or ragged robin. Lychnis Jlos 

cuculi. 

June. 

White. Indian pink. Dianthus sinensus. 

White dog-rose. Rosa arvensis. 

Garden ranunculus. Ranunculus Asiaticus. 

S. John's wort. Hypericum pulchrum. 

Jasmine (white). Jasminum officinalis. 
Red. Rose (moss). Rosa muscosa. 

Rose de Meux. Rosa provincialis. 

Barbary. Berboris vulgaris. 

S. Barnaby's thistle. Centaurea solstitialis. 

Prince's feather. Amaranthus hypochondriacus . 

Sweet S. William. Dianthus barbatus. 

Red mallow. Malope grandifiora. 



144: An Anglican Study 

July. 

White. Our Lady's lily. Liliumcandidum. 

Upright Virgin's bower. Clematus flammitla. 

African lily. Agapanthus umbellatus. 

White muUien. Verhuscum lychnitis. 
Red- Corn poppy. Papaver rhceus. 

Red centaury. Erythrcea centaurea. 

Nasturtium. Tropeolum majus. 

Red sweet-pea. Lathyrus odoratus. 

Herb S. Christopher. Actcea spicata. 

Scarlet blood-flower. Hcemanthus coccinceus. 

Musk flower. Scahiosa atropurpurea. 

August. 

White, Common thorn-apple. Datura stramonium. 

Harvest bells (or S. Dominic's bells). Companula 
rotnndi folia. 

Egyptian water lily. Nelumho JVilotica, mVi 

Fleur de S. Louis. Iris biflora, "|1 

Rosa lily. Nerine Sariiiensis. 
Red. Tiger lily. Liliuni tigrinum. 

Hollyhock. Altkea rosea. 

China aster. Aster Ckinensis. 

Herb S. Timothy. Phleum practense. 

S. Bartholomew's star. Helianthus anmius. 

S. John's wort. Hypericum ascyron. 

September. 

White. Laurustinus, Viburnum tinus. 

Myrtle. 

Verbena. 

Candytuft. Iberis Senipervirens. 

Michaelmas daisy. Aster tradescanti. 

Guernsey lily. Amaryllis Sarniensis. 
Red. Passion flower. Passiflora incanata. 

Fuschia. 

Salvia. 

Bignonia. 

Stocks. 

October. 

White. S. Remy's lily. Amaryl is humilis. 

Soapwort. Saponaria officinalis. \ 

Indian Chrysanthemum. Chrysanthemum Indicum j 
Sweet milfoil. Arbil aca agger atum. I 

Beautiful starwort. A ter pu cherrimus. 

Red. Indian fleabane. Mula Indica. 

Starlike Silphicum. Silphicum asieriscus, 
China rose. 



In Christian Symbolism. 145 



November. 



White. Sweet bay, Laurus nobilis. 

Glaucus aletris, Valtheiruca glauca. 
Snowy coltsfoot. Tussilago nivea. 
ij Large-flowered wood-sorrel. Oxalis grandifolia. 

I Red. Common strawberry tree. Arbutus unedo. 

Trumpet-flowered wood-sorrel. Oxalis tubijJora, 
Sweet butter-bur. Tussilago fragrans. 
\ S. Andrew's cross, or Ascyrum. Crux Andrece. 

N. B. — If All-Souls' Day is observed, the church may 
be decorated with yew, Taxus baccata, and cypress, 
Cypressus sempervirens. 

December. 

White. Indian tree. Euphorbia Trincalli. 
Arbor vitae. Thuja occidentalis. 
Mistletoe berries. 
Red. Holly berries. Ilex baccijlora. 

Chinese arbor vitae. Thuja orientalis. 
Sparow wort. Erica fassarina. 

( Vide, also flowers for January.) 

— [Directorium Anglicanum.^^ 



VESTMENTS. 

Chapter VIII. 

♦* Birth of the Church"— Vestments of the Earlj Chris- 
tian Centuries — "Vestments Mentioned in the Rational" 
— EucharisticVestments First Ordered — The Amice, Alb, 
Girdle, Stole, Chasuble, Maniple, Dalmatic and Tunic — 
Surplice — Cotta — Chimere — Rochet — Cassock — Pallium 
— Cope — Morse — Altar Coverings, 

Let the words of the Rev. Dr. Edward L. 
Cutts explain the birth of Christian Art; "The 
history of Christian art, i. e., art applied to 
Christian uses, begins with the birth of the 
church, on the great Day of Pentecost, in 
the upper room of Mary's house at Jerusalem. 

Let us try to reconstruct this upper room. 
A typical Eastern house of the better class is 
usually built round an open court, which is 
paved with marble, and has a marble tank or 
fountain in the middle. Sometimes trees 
planted near the tank rise to a considerable 
height, seeking air and sun, and spread out 
their foliage, giving a pleasant shade ; * * * 
In one corner is a kind of room, open on one 
side to the court, rising through the two stories 
of the house up to the flat roof, its floor raised 
two or three feet above the pavement of the 
court, with a stone or marble bench round its 
three sides. This is the divan, where the 
master of the house usually receives visits of 
courtesy or of business. (Our Lord was proba- 
bly sitting here when they let down the para- 
lytic through the roof above, so that the sick 
man alighted on this raised platform at the feet 



In Christian Symbolism. 147 

of Jesus, between those who sat round the 
divan and the crowd who stood in the court. 
Luke V. 18:19.) 

An external stone stair along another side of 
the court gives access to a balcony at the 
height of the second story. And from this 
balcony opens a large room which is the great 
reception room on occasions of ceremony or 
festivity. (On the day of Pentecost the 
Apostles probably came out of the upper room 
upon this balcony, and thence Peter addressed 
the crowd in the court below, and perhaps on 
the flat housetops around. The fountain in the 
middle of the court would afford water for 
the baptism of the three thousand. Acts. ii. 
14). This is our upper room, * * in Latin 
cocnaculum. 

Now Mary, the mistress of the house, 
apparently at this time a widow, was the sister 
of Barnabas the Levite. Josephus states at 
the beginning of his Autobiography that the 
Priests were the aristocratic caste of his nation ; 
the Levites were the second order of this aris- 
tocratic caste; and Mary was of a Levitical 
family. Her brother Barnabas had not only 
the emoluments of his office, but was also a 
landowner in Cyprus, and appears from the 
whole narrative to have been a person of some 
distinction. Mary, his widowed sister, was 
probably a person of some social consideration 
and wealth, for she resided in the capital, and 
her house was a large one, since its coenaculum 
would contain at least one hundred and twenty 
persons. Herod the Great, half a century be- 
fore, had introduced into Jerusalem a taste for 
sumptuous architecture in the prevailing clas- 
sical style of art, and the large and lofty recep- 
tion-room of Mary would possibly be in the 
prevailing taste; adorned with pilasters and 
cornices, its wall-panels and ceiling ornamented 



148 An Anglican Study 

with painting. * * An Eastern reception- 
room has little more permanent furniture than 
the low bench which runs along one or more of 
its sides, so that there was nothing to interfere 
with an assembly of people; and since Eastern 
congregations always stand to worship, there 
was nothing lacking for their accommodation. 

Having reconstructed the room, let us go a 
little further and assist at one of the Christian 
assemblies in it — the early morning assembly 
for the Breaking of the Bread. On this occa- 
sion some furniture is required; at least a plate 
for the bread, a cup for the wine, and a table 
to place them upon. * * * A wealthy 
household (of those days) would have a very 
much larger display of precious vessels in com- 
mon use than a household of similar station and 
means among ourselves. In supplying the 
vessels necessary for the solemn Memorial of 
the Sacrifice of the Son of God a natural feel- 
ing of reverence would lead Mary to select the 
best in her possession. We know the kind of 
vessels in common use at the time, and recog- 
nize that the first 'paten' and *chalice' would 
very possibly be a tazza and a cup of silver or 
gold, perhaps adorned with gems, and made 
beautiful in form and ornamentation by the 
best skill of the goldsmith. The tables of the 
same time often consisted of a marble slab sup- 
ported by an ornamental frame of bronze ; and 
such a one would be convenient for the use in 
question. 

Convenience would dictate that the table 
should be placed at the upper end of the room. 
* * * Look at the dress of the Apostles, for 
it is the earliest authority for 'clerical vest- 
ments.' The usual dress of the higher and 
middle classes at that time in Judaea, as else- 
where, was the tunic and pallium; (the pal- 
lium was a large oblong piece of cloth, lately 



i. 



In Christian Symbolism. 149 

come into use instead of the old toga, and was 
disposed in certain folds about the person. ) On 
occasions of religion and ceremony their colour 
was white, and the long tunic was worn, the 
sleeves of which reached to the wrists and the 
skirts to the ankles. This is the dress assigned 
to the Apostles in the earliest pictorial repre- 
sentations, * * and it is highly probable 
that it is that which they actually wore; (In 
the 'Recognition of Clement,' viii. 6, about 
150 A. D., St. Peter is represented as saying, 
*My dress is what you see, a tunic with a pal- 
lium,') * * * 

We have taken pains to realize this assembly 
of the Apostolic Church in the upper room at 
Jerusalem in order to combat at the outset the 
vulgar error that the early church affected a 
studious plainness and informality in Divine 
worship and its appointments. * * When 
the churches could do no better they wor- 
shipped in the open air or in a cave, and knew 
that their worship 'in spirit and in truth' 
would be acceptable to the Most High; but 
when they could do better, they thought the 
best which they could do was only a suitable 
outward expression of their reverence. This 
principle of Christian worship is sanctioned by 
our Lord's approval of Mary of Bethany's act 
of worship in anointing His feet with the preci- 
ous ointment, and by His implied rebuke of 
Simon the Pharisee's neglect of the ceremoni- 
ous courtesies usually offered to an honored 
guest. * * * 

It is highly probable that the upper room 
thus consecrated continued to be used for the 
assemblies of the church and for its worship; 
* * * For there is an early tradition that 
the house of Mary was at length entirely given 
over to the Church; and under the name of the 
Coenaculum, or Church of the Apostles, it 



150 An Anglican Study 



History of Early continued to be the most venerated of the 
Christian Art, by E. churches of Jerusalem down to the fourth 

L. Cutts, D ^ — " -' 

7, 8, 9, 10, 11. 



L. Cutts, D.D., pp. o,^^j^^^^y ^^^ j^^^^ 



It is clear then, that the Christian com- 
munities from the first were accustomed to 
worship in the spacious and handsome upper 
rooms, or in the stately pillared atria, of the 
houses of wealthy converts; and that at a com- 
paratively early period, they built public 
churches in which they imitated the domestic 
buildings to which they had become accus- 
tomed, not only in general architectural plan 
and design, but in the use of marble and 
bronze, mosaic pavements, and mural paint- 
ings. There is reason to believe that the 
sumptuous appointments of the private houses 
were also imitated in the furniture of the 
public churches; and that the greater churches 
chri^daY A°rt by^E ^^^^ timcs posscsscd Considerable wealth in 
L. Cutts, D.D.' pp. 39, gold and silver vessels for the Eucharistic ser- 
40. vice, silver lamps, and silken hangings." 

"During the first three centuries the dress of 
the clergy, both in ordinary life and in their 
ministrations, was that which has been already 
described, viz., the long tunic and the pallium. 
In the fifth century new fashions of male cos 
tumes seem to have come in, and gradually 
become general, which differed from the digni- 
fied simplicity of the old classical dress. The 
prestige of the ancient habit and its artistic 
merits caused it to be retained, as being more 
grave and dignified, by the officials of the em- 
pire and by the clergy. When civil dignitaries 
abandoned it, the clergy still used it in their 
ministrations, and thus the tunic — under the 
name of the alb, because its colour was always 
white — and the pallium became distinctly 
clerical vestments. The new upper garment 
which superseded the pallium in general use 
was a circle of cloth, of larger or smaller 



In Christian Symbolism. 151 

diameter, with a slit in the middle through 
which the head was passed, and it fell in folds 
round the person. When this went out of 
fashion in civil use, it was retained by the 
clergy as the original of the chasuble, which 
has continued in use in the Western Church 
to the present day. The great dignitaries of 
the empire wore a richly embroidered pallium. 
And it was probably the presentation of such 
embroidered robes by emperors to the great 
dignitaries of the Church which led to the more History of Early 

1,.-, j'^r I. Christian Art, by E. 

common use, by bishops and priests, of such^ cutts d.d. pp.827, 
ornamented vestments. " 328. 

With this reference to the customs of the 
early Christian centuries, pass on to the follow- Plant's Annotated 
ing taken from the Annotated Book of Com- p^° ° ^ q^I Eng'"rd*t" 
mon Prayer. 1872, p. 537. 

"As, also, the restoration of these ornaments 
in many Churches is constantly giving rise to 
inquiries about their signification, it is desirable 
to state the symbolical meaning involved in 
their use. The latter was done by authority 
so late as the year 1541-2" * * * "when 
there was drawn up, by Archbishop Cranmer, 
or under his direction, a 'Rationale' of the 
Ceremonies to be used in the Church of Eng- 
land, together with an explanation of the mean- 
ing and significance of them." 

"The descriptions given of the Vestments in 
this document are limited to those worn by the 
Celebrant himselt" * * * "The Rationale 
says that the Priest * * puts upon him 
clean and hallowed Vestments, partly represent- 
ing the Mysteries which were done at the 
Passion ; partly representing the Virtues which 
he himself ought to have that celebrates 
the mass." "The Vestments mentioned in the 
J^attojza/e a.ve the ioWowing: 1, the Amice; 2, 
the Albe; 3, the Girdle; 4, the Stole; 5, the 
Phanon, i. e., the Maniple or Sudarium as it 



152 An Anglican Study 

was also called ; 6, the Chasuble. The rubric 
in the prayer book of 1549 specifies only, 1, the 
Albe ; 2, the Vestment or Cope ; 3, the Tunicle ; 
but of course it does not exclude the others 
named in the Rationale, and in fact the whole 
were in use under the 1, 1st. Prayer Book. These 
two lists, then, comprise eight ornaments." 

May not the mysterious union of five and 
three be again noted as citing the "ancient and 
Biunt's Annotated scholastic modcs of dogmatizing the sacrificial 
Book of Common nature of the Eucharist"? Each one of the 
Prayer, pp. 587, 588. vestmeuts is enumerated on pages 587, 588, 
and the symbolic meaning given for each, as 
placed upon the person of the priest. It is to 
be noted that the Albe covers also the Sur- 
plice, and Rochet, as both the latter are but 
developments of the former. It will not be 
necessary to quote here the full description 
there given, as the volume is accessible to all. 
An English writer often quoted on the subject 
of Church Vestments, and Ecclesiastical Em- 
broidery, is Anastasia Dolby. Her two works 
published in London in 1868, are now out of 
print, and stray copies wherever found com- 
mand a high price. They are "Church Em- 
broidery Ancient and Modern, practically illus- 
trated, by Anastasia Dolby, late Embroideress 
to the Queen, London 1867," and "Church 
Vestments: their Use and Ornament, prac- 
tically illustrated, by Anastasia Dolby, late 
Church Vestments, Embroideress to the Queen, London, 1868." 
by A. Dolby, p. iii of jj^ ^^iQ volumc on Vcstmcnts, the writer says 
epre ace. n ^^ ^ vcry early age I became a subscriber to 

his rules (A. W. Pugin) for the revival of true 
beauty in sacred art, and day by day am more 
convinced that, in the main, those principles 
are right. 

From this admission, an advocacy for the 
strictly Gothic in Church designs may be in- 
ferred. Such is not quite the case, although 



In Christian Symbolism. 153 

the supposed prejudice might be well justified 
in the fact, that the Early Mediaeval Period, in 
which is comprehended the pure Gothic style, 
was that when symmetrical forms in rich 
decoration came the nearest in sacred, as in 
secular, art to human ideas of perfection." 
Note here that A. Dolby refers to the Early 
Mediaeval Period, when art both sacred and 
secular, came nearest to human ideas of perfec- 
tion. The fact that the Early Mediaeval might 
be said to represent the climax of the 
* 'Ancient" or Primitive period of the Christian 
Church, and her statement bears out the line 
of thought suggested at the beginning of these 
papers, that early customs of the church, are 
those to be followed, not the Mediaeval Period. 

On the first page of the Introduction, the church vestments, 
second, third and fourth verses of the twenty- by a. Doiby, p. i of 
eighth chapter of Exodus are quoted, to show introduction, 
the directions as given by God as to Vestments, 
**The ceremonial of the priestly dress so clearly 
enjoined for the Church of the law is nowhere 
abrogated in the gospel, and if, as true 
believers, we accept what St. John beheld in 
his vision of the church in Heaven, as a type of 
that which should glorify the worship of the 
Almighty Father in His church upon earth, 
we, who find our vocation in working vest- 
ments for the servants of the Lord, should hold 
ourselves bound to favor no sacerdotal garment, 
or decoration thereupon which is not especially 
produced for, and, as far as piety and human 
means can qualify it, regally worthy of, the 
solemn services of the King of Kings. It 
would be as presumptuous as futile to attempt 
to say or suggest anything original on correct church vestments, 
Sacerdotal Vesture. " by a. Doiby, p. 2. 

"We all know that from the first Christian 
days especial garments were set apart for the 
sacred rites of the Altar, and that for some time 



154 An Anglican Study 

they continued to be worn secular in shape and 
ornamentation, principally that the observation 
of heathen persecutors might be avoided. * * 
We have no difficulty in believing that, after 
such garments had been once consecrated to 
the service of the Holy Eucharist, they were 
kept exclusive for the like sacred usage. 
Equally sure may we be that the vicissitudes of 
fashion, whatever they'may have done in trans- 
forming the costume of the laity, were allowed 
to have no material effect on that of the sacer- 
dotal community. Every good authority which 
we can bring to bear upon the subject agrees 
in assuring us that the main features of 
Church Vestments, Ecclcsiastical drcss have remained unaltered 

by A. Dolby, pp. 2, 3. from the first. ' ' 

"Dugdale, that voluminous chronicler, in his 
'Monasticon,' carries us on through the church 
in our land to that epoch — the middle of the 
sixteenth century, when the glory of the Lord, 
and honor of His name, were sacrificed to the 
ambition and avarice of men; * * The 
coldest Puritan might shudder, as he follows 
the chronicler, at the thought of the manner in 
which we all know thousands of those precious 
garments consecrated to the service of the 
Almighty, and fragrant with the incense 
offered to His throne, were either destroyed, 
or, what was worse, desecrated by the secular 
and debased uses to which they were put. * * 
It is impossible to close our eyes to the fact 
that purity of taste in Ecclesiastical ornament 
was in its decadence long before Henry VIII. 
came to the throne. Evidences of the sacrifice 
of the pious spirit which breathed through the 
sacred designs of previous times to secular sen- 
church Vestments, timent and wordly display, are visible prior to 

by A. Dolby, pp. 5, 6. the closc of the fifteenth century." * * 

"After the so-called Reformation, everything 
which could remind the people of the grand old 



In Christian Symbolism. 155 

ritual of the past was sedulously swept away, it 
is not remarkable that those of the present day, 
who advocate the restoration of the Sacerdotal 
Vesture of the early and uncorrupt church 
should desire to take their precedents from a 
period long anterior to the 'second year of 
King Edward VI.'" 

"In the Anglo-Saxon manuscripts we find 
beautifully illuminated drawings of sacerdotal 
costume of a very early date in England ; but 
little is to be discovered in writing respecting 
the ]ust forms of the sacred vestments prior to 
the Norman Conquest; although, long before 
then, frequent mention is made of costly gifts 
to different churches, including chasubles, copes, church vestments 
stoles, albs, and .the like. " by a. Dolby, p. 8. 

It is stated that the Eastern Church was 
more orthodox than the Western Church, in 
the "later Middle Ages" in the matter of Vest- 
ments. A comparison shows a close corre- Ancient use of Li- 
spondence with the Levitical Church, as re-turgicai colours, by 
gards particularly the number of Vestments. c. c. Roife, p. u. 

Why cannot a more definite knowledge be 
had of the early Vestments of the Anglican 
Church? Let history answer, "One of the 
chief things brought about by William the Con- 
queror, in his life time, was the spoliation and 
robbery of Church of England property, which 
followed the conquest. * * * It was no un- 
common thing for foreign churchmen to come 
into England at this time and beg for our 
Anglo-Saxon vestments. The conqueror 
appears to have been orenerous enouerh in ^iv- 

• ^^ .1 -1 £ ^i_ A 1 o Ancient Use of Li- 

ing away the spoils of the Anglo-Saxon ,^^^i^^i colours, by 
Church. " c. c. Roife, p. los. 

"Eucharistic Vestments were first ordered 
by Pope Stephen in 260, in imitation of the 
dress of the Jewish priesthood, (Ezek. 44:17-19) 
out of reverence to God and His Church, to 
represent the sanctity of the rites adminis- 



156 An Anglican Study 

tered, as a warning to ministers when wearing 
them, and to procure reverence in Divine Wor- 
ship. In the twelfth century, in Ireland, they 
were white. By order of Pope Clement old 
vestments were to be burned, and their ashes 
buried in the baptistry, under the pavement or 
in the walls. Gratian says they were washed 
in special vessels. Their symbolical meaning 
will be given under their names : the Alb, with 
its two flaps on the shoulders and two beneath 
over against the feet, behind and before, are 
the four nails ; the flaps of the Amice are the 
Crown of Thorns, according to Tyndale; the 
Amice is, after the ancient fashion, still worn 
outside the Alb in Holy Week by the Maronites 
at Lyons, and Milan. Rupert says the dal- 
sacred Archeology, ^^^tic was uot wom in Lent ot" Advcut, as a 
A popular Dictionary memorial of the Disciplcs' inability to bear the 
of Ecclesiastical Art mystcrics of the faith until Jesus was glorified, 
and Institutions from jj^ ;j^222 aud 1322 cvcry church in the province 

Primitive to Modern r r^ j_ ^ jj.i . j. 

Times, by Mackenzie of Canterbury was ordered to have two sets, 
E. c. waicott, B. D., the principal for Sundays and feasts, and the 
London, 1868, p. 265. rcst f or wcck days. ' ' 

The reference in the last quotation to the 
significance of the "flaps" as they are called on 
the Alb and Amice seem to be rather over- 
drawing the matter of symbolism, and the men- 
tion of four nails in place of three, does not 
comport with the weight of argument which 
usually refers to three nails as having secured 
Christ to the Cross. What is termed "flaps" 
probably refers to the ornamentation now used 
on the Alb in four patches of embroidery called 
^''apparels.'' On the Amice also the apparel is 
probably what is referred to as representing 
the Crown of Thorns. (Ritual Reason Why, 
pages 40, 41). The Eucharistic Vestments, 
eight in number, seem to signify the doctrine 
of the Trinity and Sacrifice, as has been referred 
to in a previous lecture. 



I 



In Christian Symbolism. 157 

They are 1, The Amice, 

2, Alb, 

3, Girdle, 

4, Stole, 

5, Chasuble, 

6, Maniple, 

7, Dalmatic, 

8, Tunic. 

By examination of "The Ritual Reason 
Why" it is found, that of this list of eight 
Eucharistic Vestments five only are a necessary 
part of the Priest's vestments. Of the Maniple 
it is said on page 42, "worn by the priest, dea- 
con, and subdeacon over their left arm," 

On page 44 in answer to the question, "What 
are the principal vestments of the deacon and 
subdeacon?" find it stated, "Of the deacon the 
Dalmatic; of the subdeacon the Tunic." 
Attention is called to these points, in order to 
give emphasis to the statement before made in 
these lectures (see page 100). Five the number 
of sacrifice, combined with three, denoting the 
Trinity, together used to "Dogmatize the doc- 
trine of the Eucharist." 

AMICE. 

"The Amice was not brought into use until 
the eighth century from which period till now 
it has been the first vestment put on by the 
minister over his cassock" when preparing for a 
celebration of the Holy Communion. "In the 
tenth century it was sometimes called the 
'super-humerale,' which would imply that it 
belonged more to the shoulders than to the 
neck and from its non-appearance upon illu- 
minated figures of that time, it is justly supposed 
that it was, at first, drawn away from the neck 
to be spread about the shoulders, under the 
Alb. In nearly every instance, in paintings or 
effigies, the apparel of the Amice is turned 



i\\ 



158 An Anglican Study 

down to meet the top of the Chasuble, and the 
throat of the wearer left exposed. According 
to the Roman rite, when a sub-deacon was 
ordained the Bishop invested him with the 
Amice by drawing it over his head ; and, 
anciently, the Amice was worn as a hood from 
the sacristy to the Altar; upon reaching which 
the priest threw the garment back upon his 

ADX\\T"''''^''-''!'^^'"f? * * shrouding his head again on 
• °^^^' P- ^^' retiring. ' ' 

The shape of the Amice seems not always to 

be the same, one authority stating that it 

''should be made of pure fine linen, and should 

Church Vestments, be shaped as an oblong square measuring; 

A. Dolby, p. 28. thirty-six inches by twenty-five. ' ' 

Another authority, that the Amice should "be 
an oblong or square piece of fine linen;" "a 
covering of the head and neck introduced in , 
the seventh and eighth centuries to preserve |^ 
the voice." * * "At a later date it was re- ' 
garded as the counterpart of the Jewish ephod 
or humerale. * * At Rome, about the year 
900, It was used as a covering for the head, and 
wound round the neck at the time of Holy 
Communion. In the tenth century it received 
an ornamental border, called the Apparel, gi 
The Amice is not enumerated among church " ^' 
vestments until the ninth century, and it was 
not until the thirteenth century that the clergy 
covered their heads during the sacred office. 
* * The other names for the Amice were, 
epomis, and, about the beginning of the ninth 
century, superhumale and anabologion. It 
was supposed by some writers to symbolize the 
helmet of salvation ; but Cranmer considers it 
to represent the veil with which the Jews 
covered the face of the Saviour at His mock- 
sacred Archeology, i^g, when they buffeted Him, and also faith 
by waicott, pp. 25, 26. the head of all virtues. ' ' 

**The priest, when preparing for the Eucha- 



In Christian Symbolism. 159 

ristic Service, rests the Amice for an instant 
upon the top of his head, while he recites the 
following beautiful prayer: 'Place upon my 
head,0 Lord, the helmet of salvation that I may 
be enabled to repel all the fiery darts of the 
wicked one.' He then arranges the garment 
over his shoulders, and crossing its strings over 
his breast, and securing them around his body, 
assumes the Alb. * * * In Anglo-Saxon 
times the Apparels are described as gorgeous in 
the extreme, not only with rich embroidery on 
costly grounds, but with gems and enamels set 
about the elaborate work of the needle. Not 
unfrequently, we are told, was the Amice of a 
prelate appareled with thin plates of beaten 
gold, 'studded with pearls, and sparkling with 
precious stones.' The ancient apparel was a 
border attached to one of the lateral edges of 
the Amice, the plain part of which, when 
turned down, left the apparel to form a mag- 
nificent collar above the Chasuble. * * The 
apparel of the Amice is rapidly coming into use 
again, * * and should be in strict harmony 
as to colour and quality with the vestments of 
the day. * * The apparel should be applied 
to the linen in such a way, that it may be 
readily detached when the garment requires church vestments, 
washing. ' ' a. Doiby, pp. 27, 28. 

ALB. 

Alb. *'Albe (white). A close, white linen 
garment, which was ordered to be worn by 
deacons by the Fourth Council of Carthage, 
398, and Aelfric's canons in 957. It is the 
'white habit' ( Candida vestis mentioned by 
St. Jerome as worn by all the clergy at the 
time of the Holy Communion. * * It 
reached down to the heels, and in the twelfth 
century at St. Albans was ornamented acu 
pluma ria ; the sleeves were tight ; and on the 



160 An Anglican Study 

cuffs and edges of the skirt were pieces of rich 
work, called apparels. It was bound with a 
girdle or zone, which was originally a rich 
broad belt, but gradually dwindled into a narrow 
cord. The Albe was said to typify the white 
robes which had been washed in the blood of 
the Lamb, and the garment of righteousness 
and salvation; whilst the Girdle symbolized 
discretion, and the constraining love of God 
and our neighbour. 

Cranmer explained it as symbolical of the 
robe which our Lord wore in the presence of 
Herod, and of the innocency of life and purity 
of conscience which beseem the celebrant; and 
Sacred Archaeology, the Girdle as suggcstivc of the closc attention 
by Waicott, pp. 10, 11. of mind which he should exhibit at that time." 
Old inventories show that during the Mediae- 
val period coloured Albs were worn of hand- 
some materials, cloth of gold, velvet and silks, 
richly worked. Whether or not these costly 
coloured Albs took the place of the symbolic 
white vestment, or were worn over the white 
Alb is a question. It is possible that such an 
additional vestment might, with its wealth of 
embroidery, come under the charge of "over- 
loading." The "apparels of the priest's alb, 
(speaking now of the typical white Alb) were 
either formed of the same gorgeous material as 
the Chasuble; or they were beautifully em- 
broidered in geometrical figures and scrolls on 
costly gold fabrics or they were figured in rare 
needle-work with holy subjects," and these 
apparels were not brought into use until some 
time in the thirteenth century, they consist of 
"square-sided pieces" * * "placed before 
and behind at the lower part of the Alb, and 
upon the sleeves. * * Fourteen inches by 
eight are good medium proportions for the skirt 
apparels, and six inches by four for those of 
the wrist. Occasionally we have seen an 



In Christian Symbolism. 161 

apparel on the breast of the robe, an addition 

by some believed to be essential to complete 
,i the figure of the five wounds of our Lord, 
ii asserted as originally symbolized by the 
I apparels on the Alb. This tradition may, or church vestments, 

may not, be accepted. ' ' a. Doiby, pp. 84, 35. 

GIRDLE. 

Girdle, ''^ (^Cingulum, baltkeus; Gr. zone.) 
The cincture of the Albe, as old as the days of 
St. Gregory the Great; formerly ample in size 
and broad, and often adorned with gold and 
gems. In the sixth century it was first reduced 
to its present narrow dimensions. It repre- 
sented the cord with which our Lord was 
bound; and alludes to St. Luke 12:35; Eph. sacred Archeology, 
6:4; I Pet. 1:13." Waicott p. 295. 

"Although a Girdle of silk, of the colour of 
the day, is admissible, and in some places such 
is always used by the bishop, yet that which is 
in general use is white. It should never be 
made of anything inferior to linen thread, and 
should measure from one and three-quarters to 
two inches in circumference. Its tassels may 
be six inches deep, inclusive of the top; its cord 
four yards long." (Some say four and one- 
half yards long.) 

"The best girdles are those at present made 
in some convents, * * with tassels formed 
of the purest linen thread. The tops of these 
tassels should be made soft, of the solid flaxen 
material ; upon no account must they be Church vestments, 
worked over a wooden mould. ' ' a. Doiby, pp. 41, 42. 

The Compiler of these lectures having been 
privileged to learn from the Sisters of an Angli- 
can order how to make the Linen Girdles was 
farther instructed, to make the tassels for the 
Girdle intended for the Vestment of a priest, if 
he were married, for the unmarried priest, 



162 An Anglican Study 

there should be no tassel, only three knots of 
the cord itself. Why these three knots, was 
not explained, may not their significance be 
found in the threefold vow of the monastic 
orders, that of "poverty, chastity, and 
obedience." 

STOLE. 

Stole. {^'' Sudarum^ stola orarium^ so called 
by the Councils of (Fourth) Toledo and 
Braga. ) The name of Orarium is derived 
either from ora^ denoting its stripe-like appear- 
ance, or, as Bede suggests, from its use at the 
■ hours of prayer, but according to Rabanus and 
Alcuin, because it was worn by preachers 
{oratores). Probably it was, like the 
maniple, at first a kerchief or towel. It 
denotes the yoke of Jesus, or, as Tyndale states, 
the rope with which our Lord was bound to the 
pillar of scourging. * * The stole of the 
Eastern priests, called orarion or epitrachelion, 
is merely a long strip of silk or stuff more than 
double the width of the Western stole, and 
with a hole in the middle of the upper part. 
Sacred Archeology, through which the cclcbrant puts his head. It 
waicott, pp. 555,566. has au cmbroidcred seam down the middle." 

"The first name by which this article of 
sacerdotal dress was called, and by which only 
it was known for centuries, was 'orarium' ; 
by some supposed to have been derived from 
ora, face; and by others from orare^ to pray. 
* * The origin of the orarium was a long 
strip of linen not unlike the sacramental 
humeral veil which the early Christian wor- 
shippers wore around their necks, to be used at 
one time, as a handkerchief for wiping and 
covering the face, and at another, during in- 
tervals of prayer, to be spread over the 
shoulders and about the figure. * * * It 
was about the eighth century when the old Latin 



In Christian Symbolism. 163 

name orarium was changed for the Greek word 
; Stole. * * Then embroidery was bestowed 
I upon it, at first of a simple character, but after- 
■ wards of so elaborate and costly a kind as to 
:j render the orariu7n unfit for its primitive pur- 
poses as a handkerchief; * * With the in- 
[ creasing ornamentation of the Stole, its width 
! gradually contracted, although it diminished 
i not in length, until nearly every portion of the 
plain material was cut away from the centre, 
i to leave little else but the richly-worked 
borders, which originally outlined the wide 
: orarium of linen. * * In its first stage the 
narrow stole was of one width from end to end, 
as the wider orarium had been; then it 
appears to have slightly expanded at the ends. 
* * * The Stole was no longer made of 
, linen after its use was exclusively confined to 
the priests officiating at the Eucharistic ser- 
vice, but was formed as now, of materials to 
correspond with the sacrificial vestments with 
which it was worn. * * The Council of 
Laodicaea, A. D. 364, forbade the use of the 
Stole to lectors and subdeacons, appointing 
only priests and deacons to wear it. * * 
The sacrificial Stole of priest and deacon made 
after the approved Gothic model, is three yards 
long, and measuring from the half downwards — 
whereby a length of one yard and a half, or 
fifty-four inches, is described — it is regulated in 
width as follows : 

At the centre, behind, it is two and three- 
quarter inches wide. 

At the end of ten inches, it is three inches 
wide. 

At the end of thirty-four inches, it is three 
and one-quarter inches wide. 

At the end of forty-four inches, it is three 
and one-half inches wide. 

And for the remaining ten inches, continues 



164 An Anglican Study 

- to expand from three and one-half inches till it 
reaches a width of six inches at the extreme 
end. >Si * * There are numerous ways of 
ornamenting the sacrificial Stole ; but whatever 
else may be the design worked upon it, a cross 
at each end, and one in the middle of the back, 
are strictly required by the Church. * * The 
fringe — for the Stole should always be fringed 
at its ends may be from two to three inches 
deep. * * The material of the Sacrificial 
Stole, should be of the same material as the 
vestment, and the embroidery similar also. 
* * The Roman Stole is wider and shorter 
than that of the old Gothic type, and joined in 
the centre by a seam cut on the cross, that it 
may set more smoothly round the neck. Its 
usual dimensions are eight feet six inches long 
by four and one-half inches broad, till within 
six inches of the end, where it begins to ex- 
church Vestments, P^^^ to a width of nine and one-half inches at 
A. Dolby, pp. 86-93, ' the cxtrcmc end. ' ' 

The usual size and shape used in the Angli- 
can Church, for nearly all the Stoles is some- 
thing between the old Gothic and the Roman. 
The length eight feet, width from about two 
and one-half or three inches to six inches at 
the base. 

"In the Eastern Churches the Stole is as im- 
portant a part of the sacerdotal vestiary as it is 
with us. * * The ornamentation of the 
Stole of the Greek deacon is fully indicative of 
the solemnity attached to this portion of the 
liturgical dress by the Greek Church; it con- 
church Vestments, sists of thc word 'Holy' iuscribcd in three 
A. Dolby, p. 89. different places upon it. " 

There are Baptismal Stoles, and Preaching 
Stoles. 

"Two Stoles, one of purple, the other of 
white, are required for the Baptismal Service. 

The purple stole is put on by the priest at 



I! 



In Christian Symbolism. 165 

the beginning of the ceremony, and worn until 
the words, 'Dost thou beUeve, ' etc., are about 
to be pronounced, when it is exchanged for the 
white stole. 

Although sometimes a stole, purple on one 
side and white upon the other, is made to 
answer the purpose of the two distinct stoles, 
yet it is a custom only tolerated by the Church 
where sheer necessity, arising from lack of 
means, can be made the excuse for the 
expedient. 

The violet stole typifies the soul's condition 
of original sin, before it is received into the 
Church of Christ. It may be decorated only 
with simple crosses embroidered in gold, or gold 
silk, upon the ends and back. The white stole 
is assumed as a symbol of the purification of 
the soul by the holy rite of Baptism. It may 
be of very rich materials and work. * * Only 
gold, silver, or gold colour may be used on the 
white baptismal stole. Silver embroidery on 
the white ground is very chaste and lovely, 
and may be used to any extent. There is but 
one objection to it — its aptitude to tarnish 
quickly." 

"The Preaching Stole. This stole, like the 
vestments of the Altar, must be always of the 
colour of the day. It is seldom seen very 
plainly adorned, having either richly orna- 
mented crosses worked at the ends, or an em- 
broidered pattern spreading all over it, in addi- 
tion to the three crosses which must be figured 
upon every stole. As the ample and proper 
surplice is one yard and a quarter long, the 
preaching stole which should not fall below the 
surplice, should be two yards and a quarter 
long, and somewhat wider than the sacrificial church vestments, 

stole." A. Dolby, p. 100. 

Both the Baptismal and Preaching Stoles are 
spoken of as having a cord and tassels at each 



166 An Anglican Study 

side to confine it over the breast of the Priest. 
The question is frequently asked, what colored 
stole should be used when only one can be pro- 
vided. It seems as though the Sarum Use 
might help to decide this question. The fol- 
lowing, quoted before, in the Lecture on Num- 
bers, throws some light upon the subject. 

''In the ancient Church of England, the 
stole worn at the Altar harmonized probably in 
point of colour with the Chasuble. When the 
red chasuble was worn by the Priest, it is most 
likely that he wore also a red coloured stole; 
and so on. So nowadays, whenever a stole is 
worn as the outermost liturgical vestment, i. e., 
without the chasuble, one would think a Priest 
could not be doing wrong by wearing a red or 
white one, according to the season, embroidered 
at its ends and in the centre (i. e., in three 
distinct places) with none but the five mystic 
colours of the law. This would in some 
measure, until such time as the chasuble is 
again generally worn, help to perpetuate two 
of the most ancient traditions of the Catholic 
Church — the combination of the five mystic 
colours in the vesture of the Priest ; and the 
play upon the mystic numbers five and three in 
combination, which is one of the most ancient 

urtrcri^cow^srRo^fe', ^^^ scholastic modcs of dogmatizing the sacri- 

p. 213. ' 'ficial nature of the Eucharist." 

Therefore it seems wise to conclude, and so 
advise that if but one Stole is to be provided, it 
be of red embroidered with the five mystic 
colors, viz.. Gold, Blue, Purple, Red and White. 
This, too, is in keeping with the custom re- 
ferred to, of having in the Anglican Church 
red for the Altar where the same is to be used 
for the entire year. 

In answer to the question "Why is the Super- 
frontal generally crimson?" as found in the 
"Ritual Reason Why," page 25, reads, "As 



In Christian Symbolism. 167 

symbolical of the Blood-shedding of our Lord. 
For a similar reason the fair linen cloth, which 
represents the winding sheet in which the dead 
Body of our Saviour was wrapped at His Burial, 
is marked with five crosses as a memento of 
His five wounds." 

All these references are interesting and help- 
ful, but deep down is a meaning to the student, 
that links the use of the Red, with the Old 
Sarum use. 

In addition to the Red stole, each church 
should try to add as soon as possible a White 
stole also, to use on festivals. 

The only reference that the compiler has 
been able to find, referring to the sanctioning 
by the Anglican Church of crossing the stole on 
the breast of the priest, and embroidering, any 
other design than that of the three crosses, is 
the following. Of course elaboration of design 
accompanying the three crosses is always 
allowed. 

"Stole, or Orarium. A long and narrow 
scarf with fringed extremities, that crossed the 
breast to the girdle, and thence descended in 
front on both sides as low as the knees. The 
deacon wore it over the left shoulder, and in 
the Latin Church joined under the right arm, 
but in the Greek Church with its two extremi- 
ties, one in front and the other hanging down 
his back. The word ayios (holy) was some- 
times thrice embroidered on it, instead of 
crosses. It is one of the most ancient vest- 
ments used by Christian clergy, and in its mys- 
tical signification represented the yoke of Hook's church Die- 
Christ. Palmer. ' ' tionary, revised, p. 522. 

CHASUBLE. 

Chasuble. " Cranmer says, 'The over- 
vesture or chesible signifieth the purple mantle 



168 An Anglican Study 

that Pilate's soldiers put upon Christ after that 
they had scourged Him ; as touching the min- 
ister, it signifies charity, a virtue excellent 
above all other. ' From Casula (a little house). 
So called, says Isidore of Seville, from its cover- 
ing the whole person. >K * * in the Fourth 
Council of Toledo it was reckoned a sacred 
habit. Its old English name was Massahakele, 
the mass mantle. * * * The word occurs 
first in the year 474, in the will of St. Per- 
petuus of Tours. The Greek chasuble was of 
equal width all round, from the top to the bot- 
tom. The Western form was that of pointed 
ends behind and before ; * * * The other 
names of this vestment were fenula or pkelone 
(2 Tim. 4:13) a thick upper cloak, and planeta, 
as Ducange amusingly explains, owing to the 
many changes through which it had wandered 
Sacred Archeology, from its Original shapc ; of course, the true 
Waicott, pp. 143, 145. derivation is from its flowing folds." 

"By the ninth century it became a part of 
the Vestment worn at a solemn service. * * 
* It is one of the Vestments ordered by the 
famous Ornaments Rubric, of Edward VI. to 
be worn at the celebration of the Holy Com- 
munion. It was laid aside for a long time, but 
has in recent years been revived. The use of 
Church Cyclopaedia, it is not vcry general in this country. (Amer- 

by Benton, p. 143. ica)." 

The word is found variously spelled, thus 
Chasible, Chesible, Chysible^ usually Chasuble. 

"Dr. Rock, in his 'Church of our Fathers,' 
beautifully expresses the symbolism of the 
primitive chasuble, when he writes of it as 'a 
speaking emblem of unity in faith, being un- 
divided at the sides, and of charity, that far- 
reaching love for God and man shown by a 
holy life; the uppermost vestment of bishop 
and of priest, so large, so wide, and spreading 
itself all about the wearer, aptly did it betoken 



In Christian Symbolism. 169 

that virtue which above all others, should ever 
shine out through all the actions of the good and 
worthy churchman. ' * * * When the 
Chasuble was worn thus large, the deacon held 
up its side, during the elevation, and other 
solemn parts of the service, to relieve the arms 
of the celebrant; and thus, an act, which at 
one time really one of necessity, is now, owing 
to the curtailed dimensions of the vestment, 
practiced as a mere symbol of an old usage." 
In the early days of the church, there seems to 
have been in use at the same time, with the 
Chasuble as described, one with a hood, to be 
worn in processions out of doors. It is stated 
that the use of the hooded Chasuble did not 
last longer in England than the seventh cen- 
tury so far as records regarding it are con- 
cerned. "The late A. W. Pugin, in his 
'Glossary of Architecture,' published in 1844, 
ga\e us a standard for the shape and size of the 
principal Eucharistic vestments, which ever 
since has been more or less adhered to in the 
exercise of true taste in sacerdotal ornament. 
* * It is probable that the slight altera- 
tions effected in the Chasuble from its first 
adoption by the priesthood to the fifteenth cen- 
tury were mainly owing to the progressive 
changes which took place in architectural 
detail. 

If we accept this hypothesis, we have but to 
refer, first to manuscripts and then to the 
effigies on still existing old monuments in our 
different cathedrals and churches, to be enabled 
to trace the melting away, as it were, of the 
round arch of the planeta of the early Roman 
Christians, to the elegant lines which are pre- 
sented to us in the favoured vesica piscis shape 
of the old Eucharistic vestment of Aix-la- church vestments, 
Chapelle. ' ' a. Doiby, pp. 44-47. 

Here note before passing to the next quota- 



170 An Anglican Study 

tion, that the development of the vesica piscis 
shape of the chasuble was a feature of the 
Mediaeval period, together with that form of 
Gothic architecture, that presented the arch, 
in its nearest approach to the equilateral tri- 
angle. In both arch and Chasuble therefore 
the symbolical idea of the Trinity is embodied. 
Therefore these two designs associated as one 
idea, may for the purposes of these lectures be 
cited, as the one exception to prove the rule 
laid down upon entering upon this study ; viz. , 
that the Christian should return to the period 
prior to the Mediaeval, for the best forms of 
symbolism to be observed in the Anglican 
Church to-day. "The late A. W. Pugin, while 
speaking of the vesica form of the Chasuble of 
the middle ages, suggests that 'this shape may 
have been partially selected in reference to its 
symbohcal signification of our Lord's mystical 
name.' This conjecture is quite as reasonable 
as, and perhaps more consistent than, our own 
supposition ; still, we may not be far wrong in 
concluding, that to reverence for a pious tradi- 
tion, combined with that true taste for the 
beautiful, in ecclesiastical design, which cer- 
tainly had attained its climax in the fourteenth 
Church Vestments, c^^t^^^y^ ^^Y ^^ ascribcd the elegant and sym- 
A. Dolby, p. 47. ' metrical outline of the purely Gothic Chasuble. ' ' 
The fullness of the older form of the Chasuble 
is thought to have given rise to that form of 
ornamentation, known as the "Flower," be- 
cause when drawn up by the arms of the 
wearer, the part about the neck, both back 
and front, was comparatively plain, and it was 
upon this part that the embroidery was placed. 
In like manner the loose "orphrey" may be 
accounted for. 

ORPHREY. 

"The Orphrey, from 'aurifrigium, ' indica- 
tive of beauty and splendour, took the place, * * 



Ix Christian Symbolism. 171 

* of the bands called clavi, used for decorating 
the ordinary dresses of the ancient Romans. 
And thus the clavus of the people was in course 
of time abandoned by the Christian priesthood 
for the more distinguishing orphrey, so, again 
the latter began to take other forms of arrange- 
ment on the vestment. The earliest deviation 
from the straight band was what we now term 
the Y cross. And here again was the fitting 
opportunity for displaying the most elaborate 
needle work for the perfection of the 'flower,' 
within the fork of the Y. * * * Very 
few examples of the vestment enriched by the 
beauteous embroidery of the 'flower,' are to 
be met with after the close of the twelfth cen- 
tury. About this period we begin to find the 
Y cross formed of orphreys of rare needlework ; 
gorgeous in colour, and massive with inserted 
plates of gold and silver, enameled. A border 
of the like work is carried all around the Chasu- 
ble, and its collar, or orphrey of amice, rendered 
even more conspicuous, 'for glory and for 
beauty,' than heretofore, by elaborate em- 
broidery, mysteriousl}^ wroug:ht to dispute 
effects of light and shade, with the gold and 
precious stones, so regally bestowed about it. 

* * * 'phe straight Latin cross on the back 

of the Chasuble did not fully obtain in England church vestments, 
until late in the fourteenth century." a. Doiby, pp. 49, 51. 

In speaking of the embroidered decorations of 
the Orphreys of the Chasuble the following quo- 
tation so fully bears out the statements made 
in a previous lecture in this series, regarding 
the introduction of the crucifix, that it is given 
entire. 

"The human representation of the Saviour 
upon the Cross was not favored till long after 
the Lamb had been accepted and used as the 
type of every Divine attribute of our slain 
Redeemer. At first, only the sacred bust was 



172 An Anglican Study 

introduced, either above or below the cross, on 
the centre of which was the Agnus Dei. Then 
the entire figure of our Lord was shown, 
draped in long Byzantine robe, by some called 
the seamless skirt, but not fixed upon the cross. 
x\fterwards, from the twelfth to the fourteenth 
century, the figure appears clothed with a kind 
of tunic, and nailed by four nails to the cross, 
but withal, wearing an aspect of dignified 
majesty and spiritual repose. Finally, the 
crucified body was portrayed in its most real- 
istic and thrilling form, nailed by three nails to 
the cross, crowned with thorns, the head 
depressed, a human expression of agony in the 
features, and with blood flowing from the 
wounds. Whether this positive delineation of 
the Holy Passion be as solemn, or as dignified, 
as when symbolized according to the manner 
affected by the first Christians, is a matter of 
Church Vestments, grave Consideration, even of doubt, with many 
A Dolby, p. 53. enlightened and right-minded Catholics of cur 

own day." 

To the sixteenth century there was used 
another ornament associated with the chasuble 
called the 

RATIONAL. 

"Rational, a description of large brooch, 

fastened upon the breast of the Chasuble near 

to the collar, and in most instances which have 

Church Vestments, comc bcforc US, wom whcrc uo Other embel- 

by A. Dolby, p. 54. Hshmcnt appears on the front of the vestment. ' ' 

"Dr. Rock observes that the 'rational' was 
to be seen as late as the fourteenth century, 
and 'fashioned in all shapes, at one time 
round, at another a trefoil or a quatrefoil, but 
more generally an oblong square. Seldom was 
it wrought of any baser metal than beaten 
gold, or silver gilt, studded with precious 
stones, and as it was worn in imitation, so it 



In Christian Symbolism. 173 

'had given to it the name of the Ancient Jewish charch vestments, 
Rational.' " a. Doiby, p. 54. 

I It is not possible, nor is it the intention that 
i these Lectures shall prove to be a working chart 

for the Ecclesiastical Needleworker, facts are 

II stated, authorities given, that should be further 
consulted, in order to proceed with the work 
properly. There seems to be no other publica- 
tion that so fully meets the requirements as to 

I details, as the two volumes frequently referred 
to in these lectures, written by Anastasia 
Dolby, viz., Church Vestments, and Church 
Embroidery. 

MANIPLE. 

The Maniple. "Originally the Maniple was a 
strip of linen, as the stole had been, but 
narrower and shorter, and suspended, as it now 
is, from the left arm. * ^ At first, from its 
use as a handkerchief to wipe the perspiration 
from the face and brow of the minister, the 
sacerdotal maniple was called 'Sudarium. ' 

* * After the Maniple had, in course of time, 
become too ornamental for the fulfillment of its 
first design, it was retained as a symbol of the 
sacred calling of the ministry; and finally, 
towards the eighth century, it began to be 
made of the same material as the sacrificial 
vestments and was numbered among them. 

* * * The Maniple should be formed like the 
stole in every way but length: they must 
measure only forty-four inches from end to 
end. The Pugin maniple is but forty inches, 
and is adopted by many priests in preference to 
that of longer dirnensions. * * * After 
the Maniple is made, it should be folded in half, 
and caught together and sewn by the lining, 
straight across, at a distance of six inches from 
the centre, to form a loop for the arm of the 
priest to pass through. A tab of silk like the 



174 An Anglican Study 

lining, measuring one by three-quarters of an 

inch, must also be sewn inside near the edge, 

and on a line with the center cross, that the 

Church - Vestments, Maniple may be pinned to the sleeve of the Alb, 

a: DoibyTpp". 93794." ' on the upper side of the arm. ' ' 

From the place among the vestments, which 
the Maniple holds, the distinction before re- 
ferred to, showing that it was not one of the 
essential five Eucharistic vestments enumer- 
ated, but with the Tunic, and Dalmatic, made 
the three additional vestments used in a full 
celebration, employing Priest, Deacon, and Sub- 
Deacon, thus combining the mystic figures five 
and three. 

The Church Cyclopaedia, by Benton, speaks 
of the Maniple as a handkerchief. Hung upon 
the left arm of the priest, and used to wipe his 
brow. Later it became "enriched with em- 
broidery and a fringe" that rendered it useless, 
for the purpose first designed, and became a 
mere ornament, which it is to-day though there 
is a symbolic significance which "it now repre- 
sacred Archeology, sents as the cord with which our Lord was 

waicott, p. 360. bound to the pillar at His scourging." 

DALMATIC. 

The Dalmatic for the Deacon, is thus 
described, "The Dalmatic has the form of a 
cross ; and is White in colour, in memory of the 
Incarnation. * * * It has two red bands 
behind and before, as symbols of Christian 
love, and two purple stripes to represent the 
blood of Christ. The sleeves originally had 
double stripes at the wrist. Each side has 
large fringes, symbolizing the active and con- 
templative life. It derived its name from 
Dalmatia, where it was first made in the second 
century, and was a royal vest worn by Com- 
modus and some other Emperors. * * * 



In Christian Symbolism. 175 

In this country (England) there appears to 

have been no perceptible difference between 
.jthe Dalmatic and Tunicle, although the latter, 
i which was appropriated to subdeacons, is said 
i to have been shorter and less full-sleeved than 
11 the former. Probably as the Gospeller and 
' Epistoler were ranged on either side of the cele- 
i brant, for the sake of uniformity, it was con- ^ ^ ^ u , 

" . , \ . , T y. ' . ., . . Sacred Archaeology, 

sidered to permit no marked dissimilarity m, by waicott, pp. 206. 

costume." 207. 

"From the sixth century to the present, the 
[ Dalmatic, * * has undergone very slight 
; changes in its shape ; and as to the form of its 

decoration, it can scarcely be said to have 

altered. * * The principal change seems to 

have been in the substitution of coloured 

material for the pure white, of which the gar- 
I ment was originally made; this is supposed to 
I have been effected towards the end of the ninth 
j, century, and by the beginning of the twelfth, 
I the Dalmatic was more or less adorned with 
i costly materials and needlework, corresponding 
|: in splendour, according to the degree of its church vestments, 

wearer, with the holy vestment itself." ^7 a- ^oiby, pp. 79, so. 

TUNIC OR TUNICLE. 

"Tunic or Tunicle {Roccus, subtile; the 
mass-cope). A dress worn by the subdeacon, 
made originally of linen, reaching to the feet, 
and then of an inferior silk, and narrower than 
the Dalmatic of the deacon, with shorter and 
tighter sleeves, and devoid of the stripes of 
embroidery of that vestment, but for some cen- 
turies the assimulation has grown so complete 
as to render the slight difference subsisting 
almost imperceptible." It seems to be con- sacred Ar hsoio 
sidered emblematic "of the seamless robe of by \vricott,'^'p.^9i°^^' 
Christ." It differs from the Rochet in that 
it is fuller. 

It is found "that it was not until the dawn 



176 An Anglican Study 

of the fourteenth century that the name of 
Tunicle was bestowed on this robe of the 
church. Previously, it had in some places been 
called the "subtile;" and, by the Anglo-Saxons, 
"roc," meaning a coat; but however it may 
have been named, it had been in use before the 
sixth century. * * Although the dimensions 
of the Tunicle may continue, as they have now 
almost universally become, identical with 
those of the Dalmatic, yet we fain would see 
some of the distinction of olden times kept be- 
tween them in the way of ornament. * * * 
^, , ,. ^ , It is certain * that if an evident mark of 

Church Vestments, .... .-- ,, 

by A. Dolby, pp.s8,84, distmction be considered essential, on either of 
85. these robes, to the due observance of liturgical 

rectitude, it can only be shown in the decora- 
tion." 

The distinction suggested, is made that the 
Tunicle have only the "vertical stripes behind 
and before, but without the wide horizontal 
bands, which should always characterize the 
Dalmatic." 

The eight principal vestments of the Clergy 
of the Anglican Church have now been 
referred to, and the other vestments of the 
Bishops and Priests of the Church which may 
be said to have grown out of the eight as speci- 
fied, being modifications to meet the require- 
ments of office, as well as time and place, will 
be now taken up. 

The coverings for Altar and adornments of 
the Chancel will also be referred to, leaving the 
application to them of the Symbols, (as in 
these lectures given, ) to each individual student ; 
tor a careful examination of these pages, 
coupled v/ith reference to authorities men- 
tioned, must surely result in such a devotional 
thought on the subject, that designs selected 
will be in conformity to the Historic ideas of 
the Anglican Church. 



In Christian Symbolism. 177 

SURPLICE. 

Surplice. "The name is first mentioned by 
Odo of Paris and Stephen of Tournay, in the sacred Archaeology 
twelfth century, and by Durand. ' ' by Waicott, p. 567. 

"This, the most ample of all the white gar- 
ments belonging to ecclesiastical dress, origin- 
ated in the primitive alb, from which, in the 
eleventh century, it was enlarged by the 
Anglo-Saxon clergy, that a fur garment might 
be worn beneath it in cold seasons. 

The word surplice being compounded from 
the Latin super^ above, and pellis, a skin, or 
pellicia^ a skin vest, fully explains the first pur- 
pose of the enlarged alb; the new name for 
which — surplice — we find, does not appear in 
any record till the time of St. Edward the Con- 
fessor. * * * The ample proportions of the 
surplice ordered for the regular canons in the 
first part of this decree, (about 1339) are those 
adhered to at this moment by the promoters of 
a revived taste for all that is dignified and 
grand in vestments for the Church. * * The 
ancient surplice had sleeves, so full and long, 
that the hands of the wearer could be easily 
enfolded within them for the protection of the 
service-books from undue moisture of the skin. 
All degrees of the clergy wore the garment of 
the same ample form ; but according to their ^h h v 
rank, so it differed in the quality of its materially A.'^Doibyrpp^^i 
and embellishment." 122,123. 

COTTA. 

"Cotta. An Italian tunicle of Linen reach- 
ing to the knees. Du Cange says it was a closed gacred Archaeology, 
circular surplice. ' ' by waicott, p. i87. 

"The Cotta, a garment worn at the altar ser- 
vice in some churches by the assistant priest 
and acolytes, is nothing more than a very poor 
I substitute for the ample surplice. * * * 



178 An Anglican Study 

Church Vestments, Setting asidc its mean appearance, nowhere do 
by A. Dolby, p. 126. ^g g^d any authority for its adoption. ' ' 

CHIMERE. 

*'Chimere. The upper robe worn by a 
bishop, to which the lawn sleeves are generally 
attached. Before and after the Reformation, 
till Queen Elizabeth's time, the bishops wore 
a scarlet chimere or garment over the rochet, 
as they still do when assembled in convocation: 
but Bishop Hooper, having superstitiously 
scrupled at this as too light a robe for episcopal 
gravity, it was in her reign changed into a 
chimere of black satin. The red chimere is still 
worn by the English bishops in convocation. 
The Chimere seems to resemble the garment 
used by bishops during the middle ages, and 
called mantelletum\ which was a sort of cope, 
with apertures for the arms to pass through. 
^ , ^, , ^. See JDu Can£re's Glossary. The name of 

Hook's Church Die- „ . . ^i i_i j • j r ^v t^ i- 

tionary, Revised, p. Chimerc IS probably derived from the Italian 
no. ' zimarra' * * Palmer.'" 

ROCHET. 

"The Rochet, now worn only by prelates, is 

best described as a very short alb, in which 

garment, like the surplice, it claims its origin. 

Its sleeves are narrower than those of the alb ; 

Church Vestments, but with this cxccption, and that of its inferior 

A. Dolby, p. 144. length, it differs in no respect from that robe.** 

In speaking of the use of lace for the Rochet 
or Cotta, Anastasia Dolby gives emphasis 
to the fact that the lace should be of the 
handsomest kind, and, if possible, made for 
Church purposes, not the ordinary trade, and 
in conclusion says, "were this made a rule, 
and one strictly followed in the ordering of all 
fitting things for the sacerdotal office, the beau- 
tiful solemnities of the Church would be 
rendered more impressive, and our ears happily 



In Christian Symbolism. 179 

saved from so much profane talk about Church church vestments 
Millinery. ' '' a. Dolby, p. 147. 

CASSOCK. 

Cassock. Frequently this garment is made 
by women of the Church, but no less an 
authority than A. Dolby refers the making of 
the same to the "Clerical Tailor." 

"Cassock. The ancient Caracalla of the 
Roman. A close Linen Coat, with sleeves, 
which came down to the calf of the leg, and 
was worn by soldiers, and afterwards adopted 
by the clergy. * * The Greeks button it on 
the shoulder, the Roman Clergy down the 
front. ' ' In respect to the Cassock the Angli- 
can Church is again more in line with the 
Greek than the Roman Church in the manner 
of making. "Priests now wear black, Roman 
Bishops have Purple, Cardinals Scarlet, and the 
Pope a White Cassock. ' ' by wLoZl ^m.^^^ 

PALLIUM. 

"Pallium, An ensign of jurisdiction, worn by 
the Sovereign Pontiff, and granted by him to 
Patriarchs, Primates and Metropolitans; and 
so sometimes as a mark of honour to Bishops, p ■ , p. 
Its exact form is yet retained on the Arms of Ecj."fg°'stij,a°^ o7n a . 
the See of Canterbury." ment, p. i89. 

The Pallium is also called the Pall, and its 
form, and material as required in the Roman 
Church, is interestingly set forth in Hook's 
Church Dictionary, Revised page 419, where 
the yearly custom of securing the wool from 
perfectly White sheep is described, but as these 
pages are meant to reflect the Anglican customs 
more especially, and the vestments of the same, 
such reference is not here quoted. 

COPE. 
"Cope {Cappa\ from Cop, a covering, or 
Caput, the head, over which it was thrown, or 



180 An Anglican Study 

Caper e^ from taking in the whole body). 
* * * In England, at the Reformation, the 
precious copes were, unhappily, too often dese- 
crated to garnish beds as coverlets. Bishop 
Cosin wore a cope of white satin. Portions of 
Sacred Archeology, Copcs are Still, in scvcral EugHsh Churches, 

by waicott, p. 182. used as altar or pulpit cloths." 

" 'The Cappa (or Cope, says Honorius, is the 
proper robe of singers, cantorum), which seems 
to be substituted for the acintine tunis of the 
law (pro tunica acintinalegis), from whence, as 
that was adorned with bells, so this with 
fringes. (The fringe of the Anglo-Saxon cope 
was frequently formed of little bells of purest 
gold.) 

By this robe holy conversation is represented, 
therefore it is used by every order. It has a 
hood above, which marks the joy of Heaven. 
It reaches to the feet, because in good living 
we must persevere to the end ; by the fringes 
the labour is denoted by which the service of 
God is consummated. It is open before, because 
eternal life lies open to the ministers of Christ 
who lead a holy life.' The beautiful symbolism 
conveyed in the above passage has tempted us 
to give it as a heading to our chapter on the 
robe which is thus so piously eulogized. 

But we have to descend to mere matter of 
fact reasoning for the origin of the cope, and 
are thereby brought to believe that, as its 
primitive name, pluviale, implies, it was a gar- 
ment invented to protect the clergy from in 
clement weather, in out-of-door processions. 
The precise period of the adoption of this robe 
is not known, for early illuminated figures 
showing its use are rare, and before the time 
Church Vestments, of Edward the Coufcssor, we gather very little 

by A. Dolby, pp. 101, f rom the old chroniclers to assist us in fixing 

^^^' the date of its introduction. ' ' 

Queen Matilda, wife of the Conqueror, is said 



In Christian Symbolism. 181 

to have left by her will, a "richly- worked robe of 
Gold, intended for a cope," to the Abbey of 
Trinity of Caen. Reference is made to the 
constant appropriation by the Conqueror, of 
the beautiful embroideries of England which 
he sent to Normandy, among which is cited a 
beautiful cope which he sent to "St. Hugh 
Abbot of Cluny, " that was bordered with a 
fringe of little "tinkling bells of purest gold." 
"Then of our own Anglo-Saxon Margaret, 
Queen of Scotland, it is record6d that she 
caused to be made copes to match in beauty 
with the numerous other vestments so thought- 
fully provided by her, for the service of the ^harch Vestments, 
Church she so 'delighted to honour. ' " by a. Doiby, p. 102. 

There is so much suggested by the references 
to the embroidery of the cope, and the work, 
too, of Queen Margaret. A subsequent chapter 
will touch upon the romantic association of the 
art of Needle-work as practiced in England, 
through the Scottish and Irish lines, as connect- 
ing the English needle-worker with the Holy 
women of the Old Testament. 

Then, too, writers speak of "The Art of Em- 
broidery as the expression of Religious feel- 
ing. " (Prof. G. K. Bartholomew, Cincinnati, 
O. ) Surely no other vestment has so fully 
expressed that feeling, as the ancient copes, for 
"whole histories from Holy Writ, or from the 
lives of the Saints, have been told over and 
over again in embroidery, in numberless differ- 
ent ways, on this magnificent robe." 

"For centuries it has been the robe worn by 
sovereigns at their coronation, and in it, like- 
wise, does the archbishop and his assistant prel- 
ates vest themselves for their part in the same 
solemn ceremony. * * * Of all our grand 
cathedrals, in old Catholic times, none were 
richer in copes than Durham, for every one of 
its monks could walk in procession clad in a 



182 An Anglican Study 

costly cope. * * The Cope has always 
been the processional, as the chasuble the sacri- 
ficial robe of the priest, and is thus set down 
in the Salisbury Use. * * * That which is 
called the hood of the cope, and which for ages 
has been nothing else but an ornamental ap- 
pendage, was originally a real covering for the 
head, to be worn up or down, at the option of 
the wearer, according to the weather. Before 
the close of the Anglo-Saxon period, the first 
object of the hood as an appurtenance of utility 
began to be disregarded, and flat pieces of en- 
riched embroidery were often substituted for 
the former head-covering. It is said that even 
sheets of thin solid gold, suspended from the 
back of the robe by delicate golden hooks and 
chains, took the place of the hood even before 
William of Normandy's time. These gorgeous 
appendages are supposed to have been the 
'taisselli' of which this king, in his great love for 
Anglo-Saxon works of value, took iiii from the 
poor monks of Ely. After the Normans came, 
the actual hood of service was entirely aban- 
doned for the flat piece of ornamental needle- 
work which at this moment we designate the 
hood of the cope. These so-called hoods have 
by'X iooihyrpp.' 104^ 3,1 ways been made to vie with the orphreys in 
105. beauty of design and wealth of materials." 

It is stated that the shape of the hood of the 
Anglo-Saxon priest was "at first of a pointed 
triangular shape," later it took a more "curved 
and relenting form" and finally settled into the 
design of "an inverted Gothic arch." The 
semi-circular shape is supposed to be a modern 
invention, and one not in keeping with 
"ancient associations." The dimensions of the 
hood as given by A. Dolby "are eighteen inches 
across the top; the depth of the same to the 
extreme point should scarcely measure more 
than twenty-one inches," to which she adds the 



Church Vestments, 



In Christian Symbolism. 183 

dimensions as some times used "fifteen inches 

wide by eighteen inches deep." The Orphreys church vestments, 

to be from five to ten inches. by a. Doiby, p. loe. 

The shape of the Cope, the same authority 
states, should be that of a "cycloid," not "an 
exact semi-circle." 

If cut from the semi-circle it will appear 
longer in the back than in front; to obviate 
this, "the curve must be drawn out from the 
generating point upon the circle to the common 
cycloid form, so that, in fact if the right length 
of the cope behind be five feet, it may measure 
along its straight edge eleven feet. " An inter- 
lining is recommended of "unbleached calico" 
as being less heavy and burdensome than linen. 
The lining is cut three-quarters of an inch 
larger than the interlining or the outside, the 
lining is then sewed over on the right side, by^A.'Doib'y'Tp*''i07 
which will all be concealed by the Orphrey. log, 109. 

The cope should be of the color of the day, 
and correspond in embroidery with the other 
vestments. As to the proper times and occa- 
.sions when and how to wear the vestments, the 
teachings of the Church as studied by her 
Priests will regulate, these pages are for those 
who artistically prepare the Symbolic designs, 
and execute the deft and consecrated needle- 
work. 

MORSE. 

"The Morse, is the ornamental fastening by 
which the cope is confined upon the breast of 
the wearer." Anciently it was costly, the work 
of the Goldsmith and rich with gems, it is now 
recommended to be made of Embroidery, as 
nothing spurious should at any time be used 
for vestments. A. Dolby says that an em- 
broidered Morse is favorable when measuring 
six inches by five. In speaking of appropriate 
designs to be worked on the Morse, she further 



184 An Anglican Study 

States, "or better than all, the monogram of 

our Lord, or a figure of His Cross; for no 

Church Vestments, matter what the cope may be, these holy sym- 

by A. Dolby, pp. Ill, bols Can be shown in no more fitting place than 

112. on the breast of His ministers." 

Through all the pages studied by the com- 
piler of these lectures, there has seemed to run 
an unwritten idea of the peculiar sacredness of 
the "Sacred Monogram" that warranted the 
suggestion that the design peculiarly symbolic 
of Jesus, as the Son, or Lamb of God, should 
not be used on vestments, only on Coverings 
for Altar or Credence table, and while the 
written law for the use of the Cross on the 
Vestments was frequently found, this is the 
first reference found to authorize the use of the 
Sacred Monogram on the Vestments. It would 
be obviously wrong for a compiler of such a 
record as this, to say that use of the Sacred 
Monogram for Vestments was wrong, even had 
not this reference been found, yet on the other 
hand the conviction, as a result of study is so 
strong that the Cross only should be used for 
the Vestments, of the Symbolic designs; that 
even this reference does not weaken the con- 
viction, nor prevent the suggestion that such 
distinction is desirable. 

MITRE. 

"Mitre. In the early times it was simply 
a small band or narrow plate of precious 
metal (petalum) tied about the head, such 
as St. John the Evangelist, St. James the 
less, and St. Mark are said to have worn 
by St. Jerome and Eusebius; the latter 
(Eusebius) terms the Mitre 'Stephanos' or 
crown, and St. Gregory Nizianzen calls it the 
kidaris, or diadem ; corona was its name in the 
fourth century, and a synonym for the episco- 
pate. * * * The two points symbolized the 



In Christian Symbolism. 185 

two Testaments, which are diverse in rites and 

ceremonies; or the hypostatical union of 

Christ; or the helmet of Salvation. The two 

fanons or labels hanging down over the 

shoulders represent the literal and spiritual 

sense of scripture. They originally were 

brought round like strings or ribbon bands, 

and tied under the chin to secure the mitre 

firmly on the head; their ends or pendants be- sacred Archaeology, 

came in time mere ornaments." by waicott, p. S82. 

BIRRETTA. 

"Birretta (from fyrrhus^ or purros^ red). 
A cap so called from the colour of the fur, its 
original material. * * At the coronation of 
William and Mary some of the clergy wore 
square caps, resembling flat-topped birrettas. 
The Birretta, a skull cap, is mentioned in 1298 
as the instrument of investiture of a rector by sacred Archzeoiogy, 
the Archbishop of Canterbury. ' ' by waicott, p. u. 

The term Vestment is frequently applied to 
the coverings for Altar, and the adornments 
of the Chancel, but the definition of the term, 
scarcely warrants such a use. In the foregoing 
resume, Vestments have been alone con- 
sidered, now turn to the Altar coverings, that 
in these modern days, in poor fashion repre- 
sent the order and beauty as given by God 
himself through His faithful servants, Moses 
and Aaron, to His chosen people. 

ALTAR COVERINGS. 

Many Churches have Altars of Carved Stone, 
Marble or Wood, where such is the case, a 
Frontal is not necessary, only a Super Frontal. 
The usual depth of a Super Frontal is nine 
inches, without the fringe; this, however, could 
be modified to suit the display of the symbolic 
carving on the front of the Altar. If the 
Super-frontal extends around the side of the 



186 An Anglican Study 

Altar, it may be of the same depth as the front, 
or longer. It is not like the Fair-linen cloth, 
which has a prescribed length at the sides of 
eighteen or twenty-four inches. The color 
used for the Altar, as the Antependia, 
and book marks should be of the color 
of the Festival. If the sequence followed 
is the Modern Roman the four colors 
will be used, viz., Violet, White, Red and 
Green. If, however, as true Anglicans, the 
Sarum Use is followed, only two sets of Altar 
Coverings, and Antependia are necessary, viz., 
Red and White, embroidered in the five 
"mystic colors of the Law" White, Blue, Red, 
Purple, or Violet and Gold. Emphasis of the 
penitential season can be made by introducing 
more of the Purple, in the embroidery. 

SUPER-FRONTAL. 

"Super-frontal, modern name for the decora- 
tive hanging which overlaps a frontal. Lynd- 
sacred Archaeology, wood dcfincs the froutal to bc the pall or 
by Waicott, p. 566. apparcl hanging in front of an Altar. ' ' 

In many instances a Credence cloth is made 
to correspond with the colored vestments, and 
Altar coverings. The following quotation, 
would seem to indicate that a more proper 
observance would be to use for the Credence 
table only the Linen cover. 

CREDENCE. 

"The Credence (It. Credenza, a side board 

or buffet). * * It either takes the form of a 

little table covered with a linen cloth, * * 

or is made like an aumbry in the wall." * * 

Sacred Archaeology, "Bishop Hickcs dcrivcs it from an Old English 

by Waicott, p. 188. word, meaning the place of preparation. " 

"The Credence is the Table which stands at 
the south side of the altar, to bear the sacred 



In Christian Symbolism. 187 

vessels, and other special appointments apper- 
taining to the Holy Eucharist. 

This table is always covered with a pure 
white cloth, which should either hang down at 
each side to touch the ground, or fall over to 
the depth of five inches, as along the front. 

In many churches the credence-cloth is as 
handsomely ornamented as that of the altar 
itself; this is unnecessary. It should have a 
hem of an inch wide, and above it may be a 
narrow border worked in chain-stitch, with red r^u u ^r . 

' Church Vestments, 

and white cotton. by a. Doiby, p. 130. 

ANTEPENDIA. 

The Antependia, or singly Antependium, 
the name given the hanging for Pulpit and Lec- 
turn, is thus defined, "Ante-pane or Antepen- „ ^ » u 1 

J- rni-r ^ii..ur^i». Sacred Archaeology, 

dium. The frontal-cloth ; frontal. by waicott, p. 33. 

A simple and useful custom and one not 
sufficiently considered, is the placing in the 
Choir of Cathedral or church two Alms-bags 
made of the color of the season, one in each side 
of the choir, to be passed by the members, from 
one to the other at the time of the taking of 
the Collection, for the members to place their 
contributions in, and then the Alms-bags are 
laid on the Alms basin as it is about to be 
handed at the Altar. In this way the choir too 
often forgotten in this portion of the service 
are without confusion enabled to contribute. 

DORSAL OR DOSSAL. 

"Dorsal or Dossal. (From dorsum Latin, 
and dos French, the back; Germ. Postergule). 
* * The hanging behind the choir stalls, or sacred Archeology, 
an Altar, and rendered tapecium. " by Waicott, p. 229. 

Before closing a few words in regard to the 
care of the sacred Vestments is necessary. 
Of course it is appreciated that the drawers in 
which rich vestments are kept, should be very 



188 An Anglican Study 

tight to prevent the entrance of both dust and 
air. For where Gold is used damp air is very- 
injurious. It is well to line the drawers, it is 
said, with thick flannel, "not green baize, for 
the green dye is fugitive, and destructive to 
gold and silver. Covers of unbleached calico, 
which have been steeped in saffron water, 
should be provided to fold about the garments 
when they are laid by ; and even layers of the 
same saffron-dyed calico, placed over the gold 
embroidery itself, will protect it from the in- 
fluence of pernicious atmosphere better than 
anything else." 

For the articles of Linen used at the Altar, 
reference should be made for details, to some 
one of the several Altar Manuals published by 
the Anglican Church. A very useful one bears 
the name of Messrs. James Pott & Co., New 
York, as publishers. Although there is not 
perfect uniformity in the dimensions as given 
by the different Manuals, yet they are 
essentially the same, and it is better to obtain 
information through the avenues opened up by 
the Anglican Church publications, rather than 
to take directions from establishments that 
sell to all Ecclesiastical bodies. The question 
frequently will arise why certain articles are 
made unlike the true Anglican patterns, 
and it will be found without doubt, that the 
articles have been purchased irrespective of 
whether they were Anglican or Roman in 
form. 

In concluding this chapter on Vestments, 
there must necessarily be a sense of incomplete- 
ness. The endeavor has been made to give 
definite description by means of quotations, of 
the Vestments, and adornments of the Church, 
that should be familiar to every Churchman/ 
To those who have made the Church, its beau- 
tiful customs and adornments a matter of 



In Christian Symbolism. 189 

Study, there will seem to be nothing new ; let 
such remember that what is so familiar and 
real to them, is not known to others, hence 
this volume, which it is hoped will be a help to 
many desiring to make a further study of the 
beautiful symbolism of the Church. 



ii| 



THE NEEDLE WORKER, AND 
EMBROIDERY. 

Chapter IX. 

Bible reference — ** Ancient Phrygian and Lydian 
People, Regarded as Inventors of Embroidery" — Anglo- 
Saxon Embroidery — "Opus Anglicanum, or Anglicum" 
— Monastery of "Syon" — Is Anglo-Saxon Skill in Em- 
broidery Inherited? — Division of Embroidery into 
Periods — Modern List of Stitches — The American Mode 
of Executing Church Embroidery — Not Necessarily 
Within the Cloister. 

"Beneath the desert's rim went down the snn, 
And from their tent doors, all their service done, 
Came forth the Hebrew women, one by one. 

For Bezaleel, their master, who had rare 
And curious skill, and gifts beyond compare 
Greater than old Misrain's greatest ware — 

Had bidden that they approach at his command, 

As on a goatskin spread upon the sand 

He sat, and saw them grouped on every hand. 

And soon, as came to pass, a silence fell, 
He spake and said : 'Daughters of Israel, 
I bring a word ; I pray ye hearken well. 

God's Tabernacle, by His pattern made, 
Shall fail of finish, though in order laid, 
Unless ye women lift your hands to aid.' 

A murmur ran the crouched assembly through, 
As each her veil about her closer drew; 
^ We are but women ! what can women do ? ' 

And Bezaleel made answer: 'Not a man 
Of all our tribes, from Judah unto Dan, 
Can do the thing that just ye women can. 



In Christian Symbolism. 191 

The gold and 'broidered work about the hem 

Of the priests' robes — pomegranate, knop and stem — 

Man's clumsy fingers cannot compass them. 

The sanctuary curtains that must wreathen be, 
And 'bossed with cherubim— the colors three, 
Blue, purple, scarlet — who can twine but ye ? 

Yours is the very skill for which I call : 

So bring your cunning needlework, though small Ladies' Home Jour- 
Your gifts may seem, the Lord hath need of all.' nai, May, 1895. Depart- 
ment of Ecclesiasti- 
Oh, Christian women ! For the temples set cal Embroidery, con- 
Throughout earth's desert lands— do you forget ducted by Harriet Og- 
The sanctuary curtains need your ^broidery yetV jen Morison. 

That woman has ever had her place in the 
work, consecrated to God, writers willingly 
agree. For "when the Tabernacle was being 
constructed the Israelites joyfully contributed 
of their substance. Their hearts were stirred 
up and their spirits were made willing. Every 
man and woman gave according to their abil- 
ity. * * Not least praiseworthy among the 
tabernacle workers were those wise-hearted 
women who 'did spin with their hands' choice 
stuffs for the hangings of the sanctuary. 
Everything used in God's ministry was 
wrought by consecrated hands. The daughters 
of Israel did what they could, and both in 
Jewish and in Christian times God has been 
pleased to accept and to sanctify woman's 
work." "The robes and the ornaments pre- 
scribed for the priests were designed to express 
the dignity of their order. It is significant 
that the holy garments are said to be 'for glory 
and for beauty,' as though the symbolical idea 
was of less importance than the aesthetic. The 
vestments were to be made by the wise- 
hearted, perhaps by the consecrated craftsman. 
Everything betokened holiness — a separation 
from, the world. A fillet of gold set upon the 
mitre should bear the inscription, 'Holy to the 
Lord.' Even so, from early ages have the 



192 An Anglican Study 

Notes for Bible Study, d^j-istian clergy been robed, as well to denote 
sLnt' S'^D-^Tn 's!' ^^^ dignity of their calling as the holiness re- 
Andr^w's'cross, 1891. quired of them." 

There are three terms that in modern signifi- 
cance seem to be different from what they were 
in the time of the Old Testament. These 
three terms are, Embroiderer, Needleworker, 
Cunning worker. 

The first two to-day, as usually defined, re- 
fer to the same work, the last seems only to 
express a degree of proficiency, or originality 
on the part of the worker. Not so in the days 
when they wrought for the tabernacle. Take 
a few references from Scripture to throw more 
light on the subject. 

Embroider, Ex. 28:39. 

Embroiderer, Ex. 85:35. Ex. 38:23. 

The first use of the word Embroider in 
Scripture seems to be in Ex. 28:39. The 
Hebrew word for Embroider is Tashbetz. 

To Embroider signified a kind of work with 
certain figures woven in it, either of gold or of 
other materials. 

The Hebrew word for Needlework is Rokem. 

The Hebrew word for Cunning work is 
Chosen. 

Both Rokem (Needlework) and Chosen 
(Cunning work) signify the use of a variety of 
colors, and of figures; of the two Chosen (Cun- 
ning work) was the most artificial, and the 
figures done by weaving were on both sides, 
and not even the same ; thus there might be a 
Lion on one side, and an Eagle on the other. 
Rokem (Needlework) was on one side only, 
and wrought with the needle. 

The art of the Embroiderer therefore, and 

the Cunning worker, were those of the weaver, 

with a difference, that gold was introduced into 

..r: c:Lrem^7o1;the work of the Embroiderer, and not unlikely 

iiie Bibie,voi.i,p.846. thc placing o£ gems in their work. 



Patrick and Lowth, 



In Christian Symbolism. 193 

The Veil of the Tabernacle described in Ex. 
26:31, was done by the Cunning worker, 
wrought equally beautiful on both sides, with 
cherubims and figures of flowers, but no ^.'^^"'^'^!°° .^"^'^"n 

cj 7 etc., Commentary on 

animals. the Bible, voi. i. p. 331. 

That the veil of the Tabernacle should have 
I been thus wrought, and not by Needlework, 
illustrates the idea given by an Anglican priest 
in his remarks to a class on reverence. He 
stated that all should be most beautiful in ex- 
ecution, both on the side apparent to the Priest 
only, as that seen by the congregation. Noth- 
ing for mere ornamentation should appear 
about the Altar or Chancel. For which he had 
undoubted authority in the instructions given 
to the Israelites. 

It is the use of the terms woven, and weav- 
ing in describing the meaning of the Hebrew 
words Tashbetz, Embroider, and Chosen, 
Cunning work, that indicates to the student of 
to-day the idea that they both were differently 
wrought, more like the modern Tapestry, and 
that Rokem, Needlework, represented the em- 
j broidery of to-day. 

The better to show the possible confusion in 
these terms, as to the work of those days, it is 
said "The words 'Embroider' and 'Em- 
broidered' that come there, so frequently in 
our English version (book of Exodus) are not 
to be understood always to mean needlework, 
but on occasion the tasteful weaving in strips 
of gold, violet, and purple and scarlet twice 
dyed, and fine twined linen; the pomegranates 
at the bottom of Aaron's tunic between the 

golden bells, and wrought of four of these Textile Fabrics, south 

stuffs, were, it is likely, made out of such ^^^'^'°^'^°^ j^^'^''^'^' 
coloured shreds, and of that kind which is now J^ r^^j, ^D.D^^int^ro- 
called cut-work. ' ' auction, p. 93. ' 

Though this seems reasonable, the more 
careful study of the ancient needlework of the 



194 An Anglican Study 

East, reveals evidences of skill not known to be 
practiced to-day. 

The Encyclopedia Britannica thus speaks of 
Embroidery. 

"Embroidery, French, bord, bordure\ Anglo- 
Saxon, ho7'd^ the edge or margin of anything, 
because embroidery was chiefly exercised upon 
the edge or border of vestments. * * * 
That it is of the greatest antiquity we have the 
testimony of Moses and Homer. * * From 
the earliest times it served to decorate the 
Sacerdotal vestments and other objects applied 
to Ecclesiastical use. * * * The Jews are 
supposed to have derived their skill in needle- 
work from the Egyptians, with whom the art 
of embroidery was general ; ^ * Embroidery 
and Tapestry are often confounded ; * * Em- 
broidery is worked upon woven texture having 
both warp and woof, whereas Tapestry is wrought 
in a loom upon a warp stretched along its 
frame, but has no warp thrown across by the 
shuttle; the weft is done with short threads 
Britannica, Vol. 8, van'ously colourcd and put in by a kind of 
pp. 160, 161, 162. needle. ' ' 

It is said that most beautiful needlework was 
anciently wrought, on both sides of a material, 
and this explains the allusion in scripture to 
Sisera's garment, as "a prey of divers colours 
of needlework on both sides" Judges 5:30, and 
refers to a "style of Embroidery exhibiting a 
Britannica, Vol. 8, degree of paticncc and skill only practiced by 
p. 161. the nations of the East." 

The definite distinction in these terms, rela- 
tive to the ancient art, now under considera- 
tion, seems as difficult to determine positively 
to-day, as has been shown is the case in regard 
to colors, when compared with the ancient. See 
chapter on Color. 

Another writer speaking of the art of Em- 
broidery says: 



In Christian Symbolism. 195 

"The earliest method of decorating textiles 
was that of embroidering. It has been called 
'painting with the needle' and is even an older 
art than pattern weaving. In some of the 
oldest monuments of art that are still in exist- 
ence, as the bas-reliefs of Egypt and Assyria, 
there may be seen representations of the em- 
broidery that formerly decorated the king's 
garments." The first designs were geometri- 
cal. "Figures or personages and animal forms 
were developed by the Chaldeans and Assy- 
rians," * * ^ "The latter (Assyrians) sur- 
passed the Egyptians in the art of Em- 
broidery." ^ ^ * "The Persians ^ ^ ^ 
inherited from the older races this love of 
colour and early traditions of design. " ^ >}^ ^ 
"The Ancient Phrygian and Lydian people, 
who inhabited a portion of Asia Minor, were 
cultured races whom the Greeks and Romans 
always regarded as the inventors of Em- 
broidery — 'phrygio' being the Roman word for 
Em.broidery. " * Sculpture of "Assyrian 
thresholds" Chaldean and Persian in origin, it 
is stated were "copies of Embroidery, all of 
which clearly shows that embroidery and 
pattern weaving preceded stone, wood, and 
metal sculpture." * ^ "The Greeks were 
highly skilled in making Embroidery." * * * 
There are "many allusions in the Bible to 
those who made all kinds of cunning needle 
work. Josephus says that the veil of the Tem- 
ple at Jerusalem 'was a Babylonian curtain 
Embroidered with blue and fine linen, with 
scarlet and purple, and of a texture that was , ^V^'^ll" ?"'^";^''o' 

J r 1 > > < by T. Ward, Vol, 2, 

wonderful. pp. 319,820. 

In enumerating the colors, as used in the 
Veil of the Temple at Jerusalem, notice that 
Josephus, speaks of four of the "five mystic 
colours of the Law" as appearing, the only 
omission is in not naming the gold, which doubt- 



196 An Anglican Study 

less was present, but being a metal its applica- 
tion was probably somewhat different, from 
the embroidery with the colors, and so not 
enumerated by Josephus. 

These interesting references to the art of 
Embroidery as associated with the Ancients, 
and wrought by the people of the Bible, brings 
the student down to later periods, with a rever- 
ence that cannot be appreciated without such 
research. The field is rich, and the storehouse 
of information is being opened up more and 
more, by the spade and pickax. Watch care- 
fully the results of Egyptian exploration, for 
there are found evidences of this art, as no- 
where else. 

In "Biblia" for January, 1898, reference is 
made to results of exploration by M. Gayet who 
. represents the French Exploration Society, and 
who has been engaged for some time, explor- 
ing the sacred city of Antinoe on the "verge of 
the Nile." "In searching the adjacent hill a 
necropolis with Egyptian, Graeco-Roman, or 
Ptolemaic and Byzantine walls was brought to 
light. They contained Roman and Byzantine 
dresses, masks, mosaics, and frescoes, all in 
good preservation. We are therefore able to 
see the actual vestures Greeks and Romans 
wore when this necropolis was in use. Lyons 
may find hints for taking revivals in the bro- 
caded silk mantles. We now see the root of 
which the gorgeous vestments of Catholic 
priests are the branches. There is underwear 
in Embroidered linen that may afford ideas to 
French lingeres. Eagles and lions are dotted 
over some of the woollen vestures in regular 
Biblia, jan'y '98, pp. ordcr. The silk stockings are luxuriously 
293,294. dainty, as are the slippers in stamped leather." 

In speakmg of the linen work, the "drawn 
work" so much in use to-day, is thought by 
some to be the fine twined linen of scripture." 



In Christian Symbolism. 197 

From Egyptian or rather Eastern Em- 
broidery, which embraces the work wrought by 
the Hebrews, turn to the Embroidery of the 
Anglo-Saxons. It is not the purpose of these 
papers to point out clearly the definite, and 
positive historical connection of the Hebrew 
and Anglo-Saxon, as evinced by the in- 
heritance in the art of Embroidery, but it is 
hoped that when these pages have been care- 
fully examined, that the reader will find just 
cause to believe that some day, possibly not so 
far distant, the blind and now hidden records of 
the past will be found, to prove what your 
compiler feels, is but a logical conclusion from 
facts already known. 

"Long before the Conquest English ladies 
were much skilled with the needle. The beau- 
tiful 'Opus Anglicum' was produced under 
the Anglo-Saxons, and so highly was it valued 
that we find (800) Deubart, Bishop of Durham, 
granting the lease of a farm of 200 acres for 
life to the embroideress Eauswitha for the 
charge of scouring, and repairing and renewing 
the embroidered vestments of the priests. In 
the seventh century St. Ethelreda, queen and 
first abbess of Ely, presented to St. Cuthbert a 
stole and maniple marvelously embroidered and 
embellished with gold and precious stones. In 
about (1246) it is stated that the beautiful 
English Embroidery attracted the attention 
of 'the Lord Pope (Innocent IV.)' and he in- 
quired where they came from, finding it was 
from England, sent orders immediately for 
some of the work 'to adorn his chasuble and 
choral Cope, as if these objects cost them Bntannica, voi. 
nothing.' " p- 162. 

"But it may be asked, what is the 'Opus 
Anglicum'? Happily in the Syon Monastery 
Cope," * * "there is an invaluable speci- 
men of English needlework of the thirteenth 
century." Pugin speaks thus of it : 



41 



198 An Anglican Study 

" Anglicanum Opus — The English embroidery 

of sacred vestments was so famous during the 

Middle Ages, as to be known on the Continent 

under this denomination, and was so described 

GiossaryofEcciesias-ii^ ancicnt inventories. Quinque aurifrigia 

ticai Ornament, byPu- quorum tria sunt dc opcrc cyprensi, et unum 

gin, p. 37. est de opere Auglicano — Ducange, 438." 

"Opus Anglicanum" The keynote of Angli- 
can needlework; was struck by the Anglican 
Church worker about the thirteenth century, so 
says Dr. Rock, but some references to be 
quoted will, it is believed, lead the student to 
realize, that while Dr. Rock is right in attribut- 
ing to the thirteenth century the best example 
of the "Opus Anglicum" work, yet the investi- 
gations give evidence to prove that the stitch 
was used before the thirteenth century. 

In a modern book on "Woman's handiwork" 
this reference is found to this interesting and 
wonderful stitch in its connection with the 
sacred ecclesiastical history of Embroidery, 
showing how little the ordinary worker appre- 
ciates the deep meaning attached to the art 
when engaged for the Church. 

"OPUS ANGLICUM." 

"Although not likely to meet with it again, 
we mention this stitch as one in this day more 
renowned than either of its comrades. It was 
introduced by English embroiderers, at the 
end of the thirteenth century, to improve upon 
the method of working flesh surfaces in straight 
rows, back and forth, unti] then employed by 
Continental workers. Canon Rock asserts that 
it was a kind of chain stitch, adopted to the 
curve of the form under manipulation, and 
afterward pressed into low relief ^by the use of 
a thin iron rod ending in a heated knob. Lady 
Marion Alford and other authorities say that, 
on examination with a microscope, Opus 



In Christian Symbolism. 199 

Anglicum appears to be merely a fine split 
stitch, worked spirally, as we now work fruit." 
This writer also places the introduction of this 
Anglican stitch in the thirteenth century. 
Your compiler prefers to attribute it to an 
earlier century, possibly not so early as the 
eighth century, but before the twelfth; the 
best development of it may be found in the 
thirteenth century, so far as examples yet 
found testify. This seems almost presumptu- 
ous, when so great an authority as Dr. Rock 
states "At the latter end of the thirteenth cen- 
tury our country women invented a new way 
of embroidery, " referring to the stitch "Opus 
Anglicum." Possibly Dr. Rock was more in- 
terested in detailed examination of the finest 
evidences of the art, not definitely classifying 
as to periods. To strengthen the statement 
that the invention of the "Opus Anglicum" 
was earlier than the thirteenth century, the 
fragments of embroidered vestments taken 
from the tomb of St. Cuthbert in 1827, would 
seem to testify. "At Durham are preserved 
the Cope and Maniple belonging to St. Cuthbert Embroidery and Lace, 
and found in his tomb ; they are considered to by Ernest Lefebure. p. 
be specimens of O f us Anglicum.' ' 60. 

Now St. Cuthbert died in the latter part of 
the seventh century, 687. 

How the discovery or invention was made, 
history does not tell, and romance has not 
framed the story. The patient investigator 
learns to believe that every step in every 
development is but a natural sequence that 
follows upon the use of talents, inherited, in a 
trained line of work. What interest there 
would surely be, if in this present study such 
references are given, that at least the possi- 
bility of final proof seems reasonable, to believe 
that the Anglican needleworker attained her 
perfection because of the line of her inheritance 



200 An Anglican Study 

through the Hebrew race, to whom God gave 
the commands by Moses. A most valuable 
work, written by The very Rev. Daniel Rock, 
regarding the rich collection of Textiles in the 
South Kensington Museum, is full of instruc- 
tion, both to the student who visits the 
Museum, and to the one dependent upon 
descriptions, No. 9182 of that Collection Dr. 
Rock dwells largely upon, and the following 
extracts show the value of that particular 
specimen, to the student of Anglican Em- 
broidery. 

"The Syon Monastery Cope; ground green, 
with crimson interlacing barbed quatrefoils en- 
closing figures of our Lord, the Blessed Virgin 
Mary, the Apostles, with winged cherubim 
standing on wheels in the intervening spaces, 
and the orphrey, morse and hem wrought with 
armorial bearings, the whole done in gold, 
silver, and various colored silks. English 
needlework, thirteenth century, nine feet seven 
inches by four feet eight inches." * * * 
This *'is one of the most beautiful among the 
several liturgical vestments of the olden period 
anywhere now found in Christendom. If by 
all lovers of Mediaeval antiquity it will be 
looked upon as so valuable a specimen in art of 
its kind and time, for every Englishman it 
ought to have a double interest, showing as it 
does, such a splendid and instructive example 
of the 'Opus Anglicum, ' or English work, 
which won for itself so wide a fame, and was so 
eagerly sought after throughout the whole of 
Europe during the Middle Ages." A full 
description of the designs wrought by the 
needle prove indeed, that Ecclesiastical Em- 
broidery is truly "Concrete History" in its 
study at least. This Syon Monastery Cope is 
spoken of as "this invaluable and matchless 
specimen of the far-famed 'Opus Anglicum,' 



In Christian Symbolism. 201 

I or English needlework. " Now what was this 

! wonderful stitch, discovered or developed from 

I inheritance, by the Anglican needleworker? south Kensington 

:! It seems as though no better authority could ^^'^^^^^^^Texd^ie ^f^^ 

! be found than the same Dr. Rock, who in further {'^^^^^ Ty" The very 

:| description of the Syon Cope, thus speaks of Rev. Daniel Rock, pp. 

the work. 275-291. 

"A word or two now upon the needlework, 
I how it was done, and a certain at present unused 

mechanical appliance to it after it was wrought, 
I so observable upon this vestment, lending its 
! figures more effect and giving it as a teaching 
. example of embroidery, much more value than 
j any foreign piece in this numerous collection. 
j Looking well into this fine specimen of the 
; English needle, we find that, for the human 

face, all over it, the first stitches were begun in 

the center of the cheek, and worked in circular, 
i not straight lines, into which, however, after 

the middle had been made, they fell, and were 

so carried on through the rest of the fleshes. 

After the whole figure had thus been wrought, 

then with a little thin iron rod ending in a 

small bulb or smooth knob slightly heated, 

were pressed down those spots upon the faces 

worked in circular lines, as well as that deep 

wide dimple in the throat especially of an aged 

person. By the hollows thus lastingly sunk, a 

play of light and shadow is brought out that, at 

a short distance, lends to the portion so treated 

a look of being done in low relief. Upon the 

slightly-clothed person of our Lord, this same 

process is followed in a way that tells remark- 
ably well ; and the chest with the upper part of 

the pelvis in the figure of our Saviour over- 
coming Thomas's unbelief, shows a noteworthy 

example of the mediaeval knowledge of external 

anatomy. 

We must not, however, hide from ourselves 

the fact that the edges, though so broad and 



202 An Anglican Study 

blunt, given by such a use of the hot iron to 

parts of an embroidery, expose it somewhat to 

the danger of being worn out more in those 

than other portions which soon betray the 

damage by their thread-bare dingy look, as is 

the case in the example just cited. * * * 

What constituted, then, the characteristics of 

the 'Opus Anglicum, ' or English work, in 

mediaeval embroidery were, first, the beginning 

South Kensington of the stitchery in certain parts of the human 

Museum Textile Fab- figure — the facc especially — in circular lines 

rics.adescriptive cata-^jj^ (J jj^pr close together round and round; and, 

logue, etc., by The ■ , i ^ j i ^i_ • i • r . i 

Very Rev Daniel ^^ ^^^ ^^^^^^ P^^^^' ^^^ Smkmg of thoSC Same 

Rock, D.D., London, portions into permanent hollows by the use of 

1870, pp. 288, 289. a hot iron. ' ' 

A few words as to the Monastery of "Syon. " 
"Upon the banks of the Thames, at Ise- 
worth, near London, in the year 1414, Henry 
V. built, and munificently endowed, a mon- 
astery to be called 'Syon,' for nuns of St. 
Bridget's order. Among the earliest friends 
of this new house was a Master Thomas 
Graunt, an official in one of the ecclesiastical 
courts of the kingdom. In the Syon nuns' 
martyrologium — a valuable MS. lately bought 
by the British Museum — this churchman is 
gratefully recorded as the giver to their con- 
vent of several precious ornaments, of which 
this very cope seemingly is one. It was the 
custom for a guild, or religious body, to bestow 
some rich church vestment upon an ecclesias- 
tical advocate who had befriended it by his 
pleadings before the tribunals, and thus to con- 
vey their thanks to him along with his fee. 
After such a fashion this cope could have easily 
found its way, through Dr. Graunt, from 
Warwickshire to Middlesex. At the beginning 
of Elizabeth's reign it went along with the 
nuns as they wandered in an unbroken body 
through Flanders, France and Portugal, where 



In Christian Symbolism. 203 

they halted. About sixty years ago it came south Kensington 
back again from Lisbon to England, and has Museum Textile Fab- 
found a lasting home in the South Kensington j^^^^^ XI'^'tLVvItJ 

Museum." Rev. Danlel Rock, 

In the description of English needlework of d.d., pp. 290, 291. 
the fourteenth century, Dr. Rock refers to the 
"Apparels to an Alb; in the South Kensington 
Museum," they are found to have been worked 
on "Crimson velvet, and in coloured silks and 
gold thread. Wonderfully rich in design, with 
scenes from one of the Apocryphal books of 
the New Testament. In which Anna the 
Mother of Mary is represented, as teaching her 
daughter, the Blessed Virgin Mary, to read the 
Psalter," further on in the description of this 
work, find the following: "In the subject of 
the Shepherds, the ground is so plentifully 
sprinkled with growing daisies, that it seems 
as if it were done on purpose to tell us that she 
whose hands had wrought the work was 
called Margaret ; as the flower was in French 
designated 'La Marguerite, ' it became the sym- ^^^^21 T^xtnTpar. 
bol of that Saint's name and not unfrequently rics, descriptive cata- 
was the chosen emblem of the females whoiogue by Dr. Rock, 
bore it. ' ' pp- ^^^'i*^- 

It would seem from this quotation that Dr. 
Rock considered that one who bore the name 
of Margaret had wrought this work, and as 
Artists sometimes do, signed it with her 
"Mark," which was the Daisy or "La Mar- 
guerite." Dr. Rock of course does not refer 
this work to St. Margaret, the wife of Malcolm 
of Scotland, for it is stated that the piece of 
work under discussion was of the fourteenth 
century, St. Margaret became the wife of Mal- 
colm in 1068. It is probable that if the Daisy 
or Marguerite was the emblem of that Saint, 
that workers of that name in years subsequent 
to St. Margaret used the same flower to tell 
whose handiwork it was. There is a great deal 



204 An Anglican Study 

suggested to the student of Church embroidery, 
by this remark of Dr. Rock. In so many in- 
stances, the presence of the Daisy in the fore- 
ground of a piece of embroidery, as under the 
feet of the Lamb, representing the Agnus Dei, 
had led one to question much the propriety of 
its being there, undoubtedly therefore it first 
was used by the worker to denote her particu- 
lar piece; later its significance as a "mark" was 
lost sight of, and it became one of those acces- 
sories, that could not be explained by any 
known law of Symbolism. 

In the "Introduction," by Dr. Rock to his 
Volume so frequently quoted from, referring 
to the South Kensington Museum, there is 
much that is of deep interest, hence many ex- 
tracts will be made, for though the Volume 
should be studied, access to it may not always 
be possible at the moment of reading, therefore 
the following : 

"In Latin, while an embroiderer was called a 
Phrygian, 'Phrygio' needlework was denom- 
inated 'Phrygium' or Phrygian stuff; hence, 
when, as often happened, the design was 
South Kensington wrought iu soUd gold wirc or golden thread, 
Museum Textile Fab- ^j^g embroidery so worked got named 

rics, by Daniel Rock, < • i • » -n\ ^i • ^ 

D.D., Introduction, p. auHphrygium. From this term comes our 
93. own old English word 'Orphrey. ' " 

"While Phrygia in general, Babylon in Par- 
ticular became celebrated for the beauty of its 
embroideries." * * * " Up to the first cen- 
tury of our era, the reputation which Babylon 
had won for her textiles and needlework still 
lived, Josephus, himself a Jew, who had often 
been to worship at Jerusalem, tells us that the 
^ ^ ^^ . veils of its Temple e^iven by Herod were Baby- 

South Kensington , . , , , , d ttVi it i • i /• i 

Museum Textile Fab- loniau. * * "What the Jcws did for the 
rics, by Daniel Rock, Temple wc may be surc was done by Christians 
D.D., Introduction, p. for the Church. " 
^*- About the thirteenth century Embroidery 



In Christian Symbolism. 205 

"and its imitation" received a "technical nom- south Kensington 
enclature" they "may be severally found in Museum Textile Fab- 

-i-x J 1 ) tTT- 1 r oi. -r> i> » »> '■^'^s, by Daniel Rock, 

Dugdale s History of St. Paul s. d,d.^ introduction, p. 

"The 'Opus plumarium' was then the usual 95. 
general term for what is now commonly called 
embroidery." * * * "This term was given 
to embroidery needlework because the stitches 
were laid down never across but longwise, and 
so put together that they seemed to cover 
one another like the feathers in the plumage of 
a bird. Not inaptly then was this style called ^^s°^t^^^^ensm^^^ 

'feather stitch work, ' in contradistinction to that nc^'s^^brDani^ei^Rcck" 
done in cross and tent stitch, or the 'cushion d.d., introduction, p! 
style'." 96. 

In the Introduction Dr. Rock refers also to 
the "Opus Anglicum" attributing its origin to 
the thirteenth century, to which exception has 
already been taken in these pages, and he cites 
the "Syon Monastery Cope" as the best ex- 
ample of the stitch, and states "In what its ^^^^^ Kensington 

^ .. . -^111 1 ^- Museum Textile Fab- 

peculiarity consisted has long been a question ^j^^ ^^ j^^j^j^, j^^^^^, 
and puzzle among foreign archasological d.d., introduction, p. 
writers." 97. 

A little more detail may here be found as to 
the direction that the stitches took, "we find 
that for the human face, all over it, the first 
stitches were begun in the centre of the cheek, 
and worked in circular, not straight lines, into 
which, however, after the further side had been 
made, they fell, and were so carried on through 
the rest of the fleshes, in some instances, too 
even all through the figure, draperies and all." 

The application to these stitches of the iron 
rod, with heated knob, has been already 
described. 

"Chain stitch, then, worked in circular lines, 
and relief given to parts by hollows sunk into 
the faces, and other portions of the persons, 
constituted the elements of the 'Opus Angli- 
cum, ' or embroidery after the English manner. 



206 An Anglican Study 

How the chain stitch was worked into circles 
for the faces, and straight lines for the rest of 
the figures, is well shown by a wood-cut, after 
a portion of the Steeple Afton embroideries, 
given in the Archaeological Journal, V. iv. p. 
285." 

* * * The more general use of the feather 
stitch for the garments prevailed, though some 
times the chain stitch was used as described. 

South Kensington fQj- tV\Q faCCS 

r^rb"Srn'i"r/ock", Although tWs famous "Opus Anglicum" de- 
D.D., Introduction, p! noted EngUsh work, it does not seem to have 

98. been the one only distinctive feature of the 
Anglican needlework of the Mediaeval period. 

"Apart from its stitching circles, and those 
hollows, there are elements in the design for 
sacred art-work almost peculiar to mediaeval 
England. Upon the rood loft in Old West- 
minster Abbey, stood hard by the cross two 
six-winged seraphim, each with his feet upon a 
wheel, so, too, in the Syon Cope, as well as in 
English needlework on Chasubles and copes, 
wrought even late in the fifteenth century. 
South Kensington ^hcn therefore, such Angel-figures are found 
Museum Textile Fab- ^^ cmbroiderics. Still to bc sccn in foreign 

rics. by Daniel Rock, ' . . - . ^ - 

D.D., Introduction, p. lands, a prcsumption exists that the work is of 

99. English production. " 

"How highly English embroideries were at 
one period appreciated by foreigners may be 
gathered from the especial notice taken of 
them abroad; and spoken of in Continental 
documents. Matilda, the first Norman 
William's queen, stooped to the meanness of 
filching from the affrighted Anglo-Saxon 
monks of Abingdon their richest Church vest- 
south Kensington mcnts, and would not be put off with inferior 
Museum Textile Fab- ^j^,, ^ ^ ^ "While SO covctcd abroad, 

ncs, by Daniel Rock, _,., i-i i-ii -j J 

D.D., Introduction, p. our English embroidery was highly prized and 
99. well paid for here (England) at home " 

"Though English embroidery fell on a sud- 



In Christian Symbolism. 207 

den from its high estate, it never died. All 

along through those years, wasted with the 

"Wars of the Roses, the work of the English 

needle was very poor, very coarse, and so to 

say, ragged; * * Nothing whatsoever of 

the celebrated chain-stitch with dimple faces in south Kensington 

the figures can be found about it. Every part ^"^";;'" J^^'i^^/^^ 

° . , . , . , , 1 rics, by Daniel Rock, 

was done m the feather stitch, slovenly put d.d., introduction, p. 
down, with some few exceptions." loo. 

This period, covering the time of the Wars 
of the Roses, was from 1455 to 1485. It is 
probable that the effect upon the needlework 
as referred to, during the Wars of the Roses, 
lasted longer than the time of the actual warfare ; 
for it is found stated, that "during the earlier 
part of the seventeenth century our embroider- ,, ^°"*^ J^Zf^'Tu 

; . 1 ^ , < 1 Museum Textile Fab- 

les again struck out tor themselves a new style, ^ics, by Daniel Rock, 
which consisted in throwing up their figures a d.d., introduction, p. 
good height above the grounding. ' ' loo* 

Indicating that until that time the inferior 
class of needlework continued. 

Describing a vestment representing this work 
of the seventeenth century, as found in the 
South Kensington Museum, Dr. Rock says, ^^^^°^'^ ^^^^^J^^^^^^^^ 
"This red silk vestment is well sprinkled withies, by Daniei Rock, 
bodiless cherubic heads, crowned with rays and d.d., introduction, p. 
borne up by wings." loo. 

This enables the student to classify designs, 
and note the period to which they belong. 
Thus to the seventeenth century it seems should 
be assigned the raised work, and for designs, 
the "bodiless cherubic heads, crowned with 
rays and borne up by wings." 

"This style of raised embroidery remained in 
use for many years ; and even yet to be found 
are certain quaint old looking glasses, the 
broad frames of which are overlaid with this 
kind of raised embroidery. " * * * "Occa- south Kensington 
sionally on work of an earlier period, some ^"'"^"^ ^"^.'""/"t" 

, -^ , -,. .,^,' , nca, by Daniel Rock, 

element or another of this raised style may be d.d., introduction, p. 
found." 100. 



208 An Anglican Study 

Another style of embroidery, familiar to the 

church worker of to-day, is thus described: 

"Opus Consutum, or Cut Work. * * * 

When anything — flower, fruit, or figure — is 

South Kensington ^w-rouofht by itself uDon a separate piece of silk 

Museum Textile Fab- ° jr^ jji.^u 

K r* • 1 Tj^.v or canvas, and afterwards sewed on to the vest- 
ries, by Daniel Keck, - ' , ... 

D.D., Introduction, p. mcnt for church use, or article for domestic 
102. purpose, it comes to be known as 'cut work,* " 

The modern worker appreciates the truthful- 
ness of the statements of past ages, when, for 
instance, for Altar Coverings and Antependia, 
the effort to embroider direct upon the 
material has been undertaken. "Cut Work" 
is by far the most satisfactory for such articles. 
No less a writer than Vasari in attributing to 
Sandro Botticelli the invention of this style of 
work, may have been in error, and doubtless 
was, as "Botticelli was born A. D. 1457 and 
died 1515" while one example at least can be 
shown of the work done in the fourteenth cen- 
tury ; he, Vasari, is certainly right in his rea- 
south Kensington g^j-^ ^g giycn for the invcntion of this style of 

Museum Textile Fab-, c (3^^^ j^,. viz. , "that the COlourS might nOt 
rics, by Daniel Rock, . ' , ' . . r i 11 

D.D., Introduction, pp. Sink through, showiug the tint of the cloth on 

103, 104. each side. ' ' 

Some further examples of embroidery, as 
described by Dr. Rock, while they may not be 
included in the Anglican needlework, or valu- 
able, as showing what the work was, and to 
which country, and century, it mainly be- 
longed. "Opus Araneum" in the South Ken- 
sington Museum, is represented by "no 8254" 
of the collection as a "Piece of silk Net em- 
broidered with crosslets and triangular orna- 
ments charged chevrons in lilac and green" the 
work is "North ItaHan, fourteenth century." 
* * "This is a good specimen of a kind of 
. ^ , ^ , cobweb weavinof, or opus araneum; for which 

Textile Fabrics South _ , ^ °\ ,, .\ . . ,,.' , 

Kensington Museum, Lombardy, cspecially Its capital, Milan, earned 
D. Rock, D.D., p. 162. such a rcputation at one time." 



In Christian Symbolism. 209 

This "Opus Araneum" is thus found to be 
Italian and consequently did not play an im- Textile Fabrics south 
portant part in the notable embroidery of the Kensington Museum, 
English people. d. Rock,D.D.,p.2io. 

On page 210 there is given a description of 
what is called a "Liturgical Cloth, of grey 
linen thread, figured all over with subjects 
from the New Testament, angels, apostles, 
flowers, and monsters." The work is 
"Rhenish, end of the fourteenth century." In 
size "ten feet by three feet." What this 
"Liturgical Cloth" was, is explained, as being 
a covering or veil, not for the Altar, but for 
the Lecturn. They seem to be rare specimens 
of Mediaeval needlework. It is stated they 
"appear to have been intended more especially 
for the daily high Mass, chanted in many places 
every morning in honour of the Blessed Virgin 
Mary." This will account in a measure for 
the stitch used not being found largely in An- 
glican Needlework, for these veils were used in 
a service peculiarly associated with the Roman 
Liturgy. This veil is described as showing the 
stitch called "opus araneum." The Lecturns 
of those days were many of them "made either 
of light thin wood, or iron, or bronze, so as 
they could be easily folded up they were thus 
with readiness carried about from one part to 
another of the Choir, or Chancel, even by a 
boy. When set down the veil was cast over 
them." That some such lecturns may some- 
times be found noticed in Anglican Mediaeval 
records may give rise to the belief that when 
used they were covered with a veil, but. they 
certainly do not seem to have been a necessary 
part of Anglican Ecclesiastical adornment. 

Bringing the subject of embroidery down to 
the present day, there was published in 1889 in 
London and Philadelphia a book entitled "Em- 
broidery and Lace: Their manufacture and 



210 An Anglican Study 

history from the remotest antiquity to the 
present day, by Ernest Lefebure. Translated 
and enlarged by Alan S. Cole," Philadelphia, 
Lippincott Co. 

As there is much of interest in this volume, 
many extracts are here made to facilitate the 
work of the student, but by no means all that 
is of value on the subject to be found in the 
book. The writer is a Frenchman, and as you 
will observe when the Anglican "Opus Angli- 
cum" is reached, he for a moment tries to dis- 
parage its originality, and value, all of which 
other of his statements contradict, as the com- 
piler trusts these pages of extracts will clearly 
show. 

In the Preface to the volume an idea is given 
of the difficulties that meet the student of a 
historical study of embroidery. As each suc- 
ceeding publication, if the compiler's work has 
been at all faithtul, should show an increased 
record of facts, so it is hoped that the reader 
will find, on laying down this compilation, that 
its extracts cover more ground than the volume 
of the Frenchman, or other authorities quoted. 
The translator of Monsieur Lefebure's work 
in his preface on page first says "This book 
has been compiled with the view of supplying a 
link which has been missing in the history of 
embroidery, no serious work on this fascinating 
subject having been hitherto published. This 
may appear strange when one reflects that few 
Arts have been more universally practiced. 
True, several books have been written about 
various classes and aspects of embroidery. 
Amongst others, there are Lady Marian 
Alford's Needlework as Art. 

Miss Dolby's Church Embroidery. 

Miss Higgins' Hand book of Embroidery. 

Dr. Rock's Textile Fabrics 
and the Countess of Wilton's Art of Needle- 
work. 



In Christian Symbolism. 211 

Some of these are rather out of date ; none 
can be held to fulfill the same purpose as 
Monsieur Lefebure's book in dealing with the 
technical character of embroidery." 

In the chapter on Embroidery on the fourth 
page, it is truly stated **indeed, in a sense, a 
superiority to the brush may be claimed for it, 
since it can be made to produce work in relief, 
an element in decoration which can be success- 
fully resorted to and preserved from abuse, 
and is certainly outside the powers of painting. " 

The materials used upon which to embroider, 
that is as to their origin and date, it is interest- 
ing and valuable to consider, but can be found 
elsewhere without much difficulty, hence the 
subject is not taken up in these pages, all of 
which will be found well cited in the book by 
Lefebure now under consideration. 

It is a fact noted, that in the wonderful 
descriptions of the embroideries of the Tews, 

,1 , ,1 r^i_ 1 • JO 1- • Embroidery and Lace, 

that the Cherubim and Seraphim are repre-^y Ernest Lef^are, p. 
sented, with fruits and flowers, but no animals. 22. 

Is there not a suggestion in this, to the An- 
glican embroiderer? Why do the almost gro- 
tesque figures of animals sometimes appear in 
so-called Ecclesiastical designs for silks, for 
Stoles, Altar, and Dossal? Then, too, the 
student of Anglican Symbolism recoils from 
the hideous Gargoyles that in the Middle Ages 
crept into use in architecture till indeed "Sym- 
bolism became so shrouded, or overladened, 
that the beautiful pure symbol was lost." 

The greatest superiority in embroidery is 
attributed to the Oriental peoples, of whom the 
Hebrews were a part. 

"At the period of Christ's dispensation * * 
embroideries had been made chiefly with 
woolen, cotton and flaxen threads, though 
often intermixed with strands of gold and 



212 An Anglican Study 

Embroidery and Lace, silver, China at this period being almost the 
byErnestLefebure, p. only country enjoying free use of silk." 
^^' Speaking as to designs, comparing the 

Greeks and Hebrews, and further strengthen- 
ing the peculiar adherence of the Hebrews to 
the Biblical instructions, find it stated that "to 
the Greeks the Gods were omnipresent ; but to 
the Hebrews such familiar emblems of the 
divinity were unknown, and they used nought 
but Cherubim. " * * "It is sad to find that 
'nothing exists of these famous embroideries 
Embroidery andLace, telling of the cxploits of Grceks and Trojaus, or 
byErnestLef6bure,p. of the Celebrated veils and hangings of the 
36,37. Temple.'" 

Following the results of explorations already 
referred to, may it not be possible that even 
fragments of Hebrew embroideries may yet be 
discovered? 

The origin of the beautiful Orphreys, may 
Embroider andLace ^^^^ ^o be fouud in the appliquc dcsigns that 
by'sr^est^Lefrbure^".' the early Christians placed on the Albs, as 
39. ' depicted in the Catacombs. 

On page 62 the Frenchman appears as an 
iconoclast, and it is the paragraph before re- 
ferred to, where he speaks of the "Opus Angli- 
cum. " " Chainstitch" as described by Dr. Rock 
he says "may possibly have been invented by 
some ingenious Anglo-Saxon embroideress, 
who used a hook instead of the ordinary 
needle." Yet he throws doubt, for he thinks 
much the same effect is found elsewhere in em- 
broideries, and as to the application of a hot 
iron he thinks certain Persian embroideries, in 
"chain stitch" assume an undulating surface 
without the application of any such tooling." 
The same writer seems to atone for this state- 
ment when he says "There was therefore no 
lack in the eighth to the twelfth centuries of 
TT^w^;^ „ „^T clever designers and skillful workwomen, who 

c-m broidery and Lace, ^-11 • r r\ 

by Ernest Lef^ure, might wcll found the rcputatiou ot an Opus 
pp. 62, 64. Anglicum." 



In Christian Symbolism. 213 

After the close of the period ending with the 
Christian era, which the French writer Lefebure 
terms the first period, he begins the second 
period in the history of embroidery which he 
closes with the beginning of the twelfth cen- 
tury. If he is right in his divisions of the sub- 
ject, then the Opus Anglicum is to date from 
about the eighth century, and to belong to the 
second division. 

A few statements just here with references 
to history may serve to fix in the mind the 
connections to be found to exist with em- 
broidery, the kings and queens of England, 
and the Hebrews. 

This French writer attributes to the Angli- 
can needlework, a superiority during the period 
covering the years between the eighth and 
twelfth centuries, that might have developed 
the Opus Angiicum work. 

St. Margaret, of England, the wife of Mal- 
colm III. of Scotland, whom she married in 
1068, was renowned for her needlework. Her 
embroidery was done in the period assigned to 
the superiority in Anglican work. 

In her marriage with the Scottish king, the 
two lines of Hebrew descent may be said to 
have been united, for the Scottish kings fol- 
lowed the Irish in line of descent, and Margaret 
was the Anglo-Saxon descendant. True, the 
union, on the throne of England was not 
effected, until James I. of England was 
crowned. All of this will be more fully referred 
to, later in this chapter sufficient only is named 
here to show, if possible, the close connection, of 
the period of the finest of Anglican work, with 
that which united the Scottish and Anglo- 
Saxon descendants. The question should be 
for the student, can an example be found of 
the work of St. Margaret, or her school of 



214 An Anglican Study 

workers, and if so does it show the Opus Angli- 
cum work as described by Dr. Rock? 

From the references quoted it seems evident 
that this French writer means to attribute the 
highest period of EngHsh embroidery to that be- 
tween the eighth and twelfth centuries, but his 
citing work of great excellence, from the same 
source belonging to the fourteenth century, on 
page 91 of same volume extends its appli- 
cation to a period about two hundred years 
longer than he contemplates, when he says 
"England whose brilliant reputation for em- 
broideries has been already mentioned, 
possesses an authentic work of the fourteenth 
century of the highest interest, proving that 
she had in no way declined in the art." This 
specimen is in the South Kensington Museum, 
it is "a pall or mortuary cloth which belongs to 
the Fishmongers' Company, and is traditionally 
Embroidery and Lace, said to have been uscd at the funeral of Sir 
by Ernest Lef6bnre, p. William Walworth duHug the reign of Richard 
91. IL,1381." 

With the opening of the twelfth century the 
writer begins the third period in embroidery, 
which ended with the beginning of the six- 
teenth century. This third period was marked 
by the imprint made by the Crusades, in two 
ways, one in the character of the designs, 
which were suggested by the cause that at- 
tracted the warriors, and called for a 
"Blazonary" that would donate the cause and 
the hero as well. The second effect was mani- 
fested in the style of embroidery, which re- 
ceived its impress from the beautiful examples 
of oriental art of needlework which the war- 
riors brought back. 

In summing up the evidence for this 
period, the third, the writer states "that 
Saints wearing armour were thus favorite 
subjects; and this Militaryism is more or 



In Christian Symbolism. 215 

less distinctive of embroideries at this period." 

* * * "Religious and heraldic subjects give 

the peculiar characteristics observable in artistic 

needlework of the Middle Ages. It is one 

which does not similarly reveal itself in works Embroidery and Lace, 

of a later time, when customs more pacific by Ernest Lefebure, 

and manners less severe prevailed. " pp- ^^^' '^^'^• 

The fourth period beginning with the six- 
teenth century to the death of Louis XIV, or 
about 1715. 

According to this same writer this period 
seems to be marked by fineness of execution, 
and exactness of detail, that, marvelous as it 
was, detracted from its value as compared with 
the "Heroic period" that extended from the 
Christian Era to the twelfth century. 

To meet this increased demand for fineness of 
detail, the brush was called into question, to 
aid the embroiderer, where the flesh was to be 
represented. Therefore it is a just conclusion, 
that for the Anglican Church embroiderer, the 
use of the brush should not be called upon, in 
Ecclesiastical Embroidery. It will be well to 
remember, that this mixing of the arts, as it 
might be called, in using the brush with the 
needle, belongs to the fourth period, extending 
from the sixteenth to the early part of the eigh- 
teenth century. 

The Italian element dominated this period. 
To the Churchman who devoutly studies the 
art of embroidery, it becomes painfully evident 
that the exquisite execution of this period, did 
away with the religious aspect of the work. 
The Art was carried to a high degree of perfec- 
tion, but at the hands of artisans, to whom the 
present was the ruling thought, and it may be 
said, that embroidery of this period had lost 
its heart. 

The fifth and last period as named by this 
author, from Louis XV. to the present, happily 



21C An Anglican Study 

leaves the period open, incomplete, and may 
not the worker in Ecclesiastical Embroidery 
labor to show a return to the better form in 
this, as in Symbolism, that preceded the "over- 
loading" that began early in the Dark Ages. 

Pursuing the writer (E. Lefebure) through 
his resume of this period, so far as he has been 
able to go, it would seem that the growing in- 
genuity of the West, has had its influence in 
weakening for a time the true and artistic side 
of Embroidery. Modern invention has given 
machines of marvelous dexterity, that produce 
work, that satisfies those who desire only effect, 
and this creeps into the Church work too, unless 
the historic and spiritual side of the use of em- 
broidery is fully appreciated. Then the 
rapidity of travel has brought the Oriental 
embroidery into the hands of the people of the 
Occident, at such a price that a conscientious, 
not to say religious aspect of the work has been 
quite out of the question. Happily the writer 
seems to see signs of a return to the more enno- 
bling phase of the Art. 

Surely the Anglican Church needleworker 
has a wonderful responsibility laid upon her, 
when she recounts the facts that go to prove 
her line of descent from the Hebrew workers of 
the Bible, which appear evident by race 
descent, and religious mysteries, even to the 
use by the Church of the "five mystic colours 
of the Law." 

To further define the peculiarities of the 
Opus Anglicum stitch, the following is culled 
from a number of The Art Amateur, found in 
an article written by Blanche C. Saward. 

"The Opus Anglicanum or split stitch, claimed 
by Anglo-Saxon ladies as their own invention, 
and used by them in all their fine work, and 
particularly about the faces and hands of saints. 
This stitch resembles chain-stitch, and is worked 



In Christian Symbolism. 217 

SO that it follows the lines of features and the 
contours of flesh, and thus gives shadow and 
relief to a perfectly flat surface worked in one 
shade of silk. It is made by working a short 
satin stitch and bringing the needle up for the 
next stitch through the centre of the first, thus 
dividing or splitting the silk threads. To 
further enhance the beauty of this stitch it was 
the custom to heat round brass knobs and to 
press these down upon the work, wherever 
deep shadows threw it back, this process bring- 
ing into greater relief the parts upon which 
high lights were required." 

A h'ttle repetition, in regard to the Anglican 
work, will be pardoned when the extracts are 
from other writers. Thus again, it is spoken 
of: "In England, during the Anglo-Saxon 
times, embroidered work had a great reputa- 
tion, so much so that it was greatly prized and 
in request in France and other parts of Europe, 
where it was known as 'Anglicum Opus.' * * 
Embroidery was the chief occupation of Anglo- 
Saxon and Anglo Norman ladies, Bede and 
other old historians frequently extolled the ex- 
cellence of design and workmanship of the Eng- 
lish embroidered palls, copes, corporals, chasu- j^ " j'^^^^j.^"'* '^^^'J^' 
bles, and hangings." voi. 2, p. 

Note that all these articles referred to were 
ecclesiastical Vestments and hangings, which 
shows the sacredness of the English Art. The 
question arises, whence and how this peculiar 
gift, among the English people? Can it be 
traced to the Hebrew inheritance, and so to 
not only a God-given talent, but to a. God- 
given order for the use of that talent? 

"About the date of the thirteenth century 
various technical names were given to the 
different kinds of embroidery, such as ' Opus 
Plumarium^' or as it is now called 'feather 
stitch.' " 



Historic Ornament, 



218 An Anglican Study 

" 'Opus Pulvinariuni' or 'cushion' style 
where the work is done in cross and tent stitch. 

'Opus pectineum' where the embroidery is 

made to represent or imitate weaving" * ^ 

"The Opus Anglicum so highly prized seems 

Historic Ornament, ^-q j^^^^ h^^vi 2, kind of chain stitch embroidery, 

by J. Ward, 2 Vols., • • i 4. ^ r » . ' 

Vol. 2, pp. S19, 320,321. gi^^i^g ^ granulated surface. 

These studies and thoughts lead up to the 
interesting question, of the identity of the 
English people, with the "lost tribes" of Israel's 
race. 

The suggestion has been briefly made from 
time to time in these papers that there was a 
hidden mystery in connection with the Art of 
Needle work as practiced by the Anglo-Saxons, 
particularly in the branch of such work asso- 
ciated with the Church, which links it with the 
Hebrew people, the chosen of God. To find if 
possible a key to this mystery reference to a 
few writers on the subject of the English speak- 
ing people being the "Lost tribes of Israel" will 
not be out of place. The subject to the casual 
embroiderer may seem foreign, but as one 
Priest of the Anglican Church in America has 
expressed it, that the study of Ecclesiastical 
Embroidery is that of "Concrete history," it 
cannot be so considered, by the more though^^- 
ful Church Embroiderer. These are days 
wherein history is being rapidly made, and 
America is likely to prove her wonderful des- 
tiny in the fulfillment of prophecy (1898), and 
the Anglo-American Embroiderer may have 
her part to perform as perpetuating God's com- 
An lo I raei and "^^^^ ^^ givcu to Moscs, whcn the fivc "Mys- 
Tbe jewish^Probiem. "tic colours" wcrc ordaiucd, and which in un- 
The ten lost tribes brokcn liuc havc come down to the Anglican 

found and identified in Pj-jggl^ Qf tO-daV. 

theAngio-saxonRace. ..r^^^^ ^^^^ Disracli dcclarcd the American 

By Rev. Thomas Ros- ^' ,f ^ i i-i .1 . r • t 1 

ling Hewlett, B. A., ^^^lon to bc morc like that of ancient Israel 
A. M., 1892. under the Judges than any other of history." 



In Christian Symbolism. 219 

If such may be said of America, for which 
the United States stands, poHtically, why not 
much more so in regard to her Religious mys- 
teries? Woman's work may seem trivial, but 
fidelity to her own vocation, with a deep and 
ever widening study into the significance of her 
work, will not only elevate her, and her occupa- 
tion, but strengthen the whole Church. That 
Anglo-Saxon and thus Anglo-American are 
descendants of Israel, the author just quoted 
from on page 40 endeavors to prove by "Ethnic 
Evidence in Names — Hebrew Names of Places 
in Britain, The Tribe of Dan — Its History and 
Footprints." To the identifying of the Danites 
with the inhabitants of Ireland, is added an 
Israelitish origin for the Celts, same volume 
pages 46, 47. And that the Anglo-Saxons are 
also of Semitic origin, pages 49, 51, go to prove. 
Although history nor the Bible has recorded 
that the Prophet Jeremiah brought to Ireland 
at least one of the Princesses, daughter of the 
Jewish King Zedekiah, whose eyes had been put 
out, before going to Babylon, yet there is a 
tradition that he, Jeremiah, did after filling the 
command as given in Jer. 43 :8, 9, 10 verses, to 
place the stones in concealment, at Tahpanhes, 
took the Princess to Ireland, and later she 
married "the King of the Tuatha Danaans, 
an Israelitish colony on the northwestern part Angio.israei,byRev. 
of the Island. " (Ireland). t. r. Howiett,p.i22. 

Thus uniting the house of Judah with the 
Israelitish lost ten tribes. The explorer in 
Egypt has unearthed the pavement where un- 
doubtedly were placed the hidden stones that 
Jeremiah set at Tahpanhes, as an article in 
**Biblia" states. May not some future dis- 
coveries, prove from records of stone, the sub- 
sequent flight of Jeremiah with the Princess? 

The reader will certainly anticipate the 
sequence, did not this Jewish Princess bring 



220 An Anglican Study 

with her to this western Isle the wonderful 
Eastern and Hebrew art of the Needle. True, 
the subject borders on the romantic, but 
romance has its part in the development of 
every people, and nation. St. Margaret, what 
of her? 

"In going through the life of that pearl amid 
women, Edmund Ironside's granddaughter, 
and the little niece to Edward the Confessor — 
our own Anglo-Saxon Margaret — we meet with 
many a touching scene. On becoming Mal- 
colm king of Scotland's wife, this Anglo-Saxon 
princess wedded, as it were, that country to her- 
self , and toiled so long and well to civilize this then 
rude people. If we stop awhile to behold the 
royal but unlettered husband, who doted, as 
well he might, upon her, taking up with rever- 
ence Margaret's prayer-book, and as he gazed 
upon its beautifully illuminated leaves, and 
golden letters, which he knew not how to spell, 
kiss it for his queen's sake (for it was almost 
hourly in her hands), still more shall we wish 
to linger in thought within that chamber of 
hers, where she watched the labours of her 
waiting-maidens and worked along with them; 
and where copes, and chasubles, and stoles, 
and Altar frontals might always be seen, some 
in the workers' hands, others already done, 
and most beautifully wrought by the needles of 
those high born dames and worthful females 
whom Margaret the queen had drawn about 
her to spend their talents in embroidery upon 
the adornment of God's altar, and the sacrifi- 
cial garments of its ministers: — Though not 
outstripped, the Anglo-Saxons were equaled by 
the Anglo-Normans and the English in a be- 
coming zeal for the beauty of God's house and 
its servants ministering array. Still, however, 
the higher merit belongs to the first, for Anglo- 
Saxon feelings suggested, and Anglo-Saxon 



In Christian Symbolism. 221 

fingers wrought those tasteful designs on the 

sacred garments that, however rich they might 

be in their materials, were thought richer still 

from their beauty, and, as works of art, have 

earned for themselves the historian's notice; at 

the same time a sight of them always called 

forth the admiration and awakened the wishes church Embroidery, 

of foreigners to possess them." by a. Doiby, p. 6. 

' ' Much of the beautiful work of the middle ages 
was produced in the nunneries, where girls of 
noble birth were sent for their education ; and 
where they were not only taught the principles 
of their religion, but as much book knowledge 
as the resources of the age could supply, and fine 
needlework and embroidery for the employ- 
ment of their hours of relaxation from study." 
* * * "It is possible that we may have said 
enough to convince our country-women who 
have hitherto felt diffident, and inclined to yield 
the palm for embroidery to their continental 
sisters, that if there be anything in right of 
inheritance, English women can conscienti- 
ously lay claim to that of ability and excellence 
in church needlework. Bui in emulating our an- 
cestors in working for the church, we must 
never forget that what they did best was 
always for 'the honour and glory of God,' and 
not merely for human praise, and the amuse- 
ment of idle half hours. Those who labour in 
the right spirit, need scarcely to have been re- 
minded of the pious and undeniable prece- church Embroidery, 
dents we have quoted for their occupation. " ^y a. Doiby, pp. 7,10. 

In reference to the British as Israelites, a The British Israelites, 
volume entitled "The British Israelites," will beo^^ evidences of our 
found to be both interesting and instructive. ?^,^'^'^°"^;"'^^.^'- 

rrM '^ r ^ T • 1 i • Col. H. W. J. Senior, 

The wnter refers to Jeremiah, as havmgpj^st Bengal infantry, 
brought from Tahpanhes, in Egypt, the Jewish London, p. 12. 
Princess, who is further said to have married 
"the Irish King Eochaid II., the Heremon (fl. 
B. C. 580)." 



222 An Anglican Study 

This makes the union of Judah and Israel, 
through the marriage of the Jewish Princess 

The British-Israelites, and the Irish King, as a descendant of Dan. 

HebrewOdgin°byrt' Reference is made to Margaret of England, 

Col. H. w. J. Senior, who fled with her brothers to Scotland, and 

First Bengal Infantry, there married the Scottish King Malcolm III., 

London, p. 13. Canmorc, (1055-1093). 

This marriage again connects the two lines 
of Israel and Juda, for the Anglo-Saxons are 
by writers shown to be of Semitic origin, and 
as the line of descent of Irish kings passed 
over into Scotland, this union, repeated, and 
intensified the union, which was fully consum- 
mated, and crowned, in the coronation of 
James VI. of Scotland, as James I. of Great 
Britain, 1603. 

Another writer on this subject is Mrs. G. 
Albert Rogers, while not so technical as 
the one just referred to, may be said to give 
more of the romantic side of the subject. The 
title of one of her volumes is, "Britain in His- 
tory Ancient and Modern ; or Proofs Linking 
Israel with Britain throughout the Ages." She 
has other volumes, and one referring to the 
Coronation Stone. 

After this little detour from the legitimate 
subject of this Lecture, a return is made to the 
question of Anglo-Saxon embroidery, as viewed 
by another writer. 

"The grand old system of the Church of 
England in the Anglo-Saxon age was indeed a 
perfect one. There never was a time when 
the vestments for the Sanctuary were more 
aesthetically beautiful and ecclesiastically cor- 
rect, * * * and our royal Anglo-Saxon 
dames, our ^If-flaeds, our Emmas, our Mar- 
garets, busied their minds and bethought 
themselves how they might procure the most 

Ju^'^;^.7co"oy;s%>eautiful sacerdotal garments for the service 

c. c. Roife, pp. 105, 106. of the Altar." 



In Christian Symbolism. 223 

''Under the Christian system, as under the 
Levitical, the vestments of the Church's 
ministers were richly embroidered. And it 
was in the embroidery and ornamentation of a 
red or white vestment, as the case might be, 
that the other sacred colours were introduced, 
and the traditions of 'the Law' observed. It 
was this very embroidery — the Opus Angli- 
canum — so orthodox in its colouring, and beau- 
tiful in its workmanship, which made our 
Church of England vestments to be 'extolled 
and coveted by all nations. ' 

It is manifest that with but two distinctive 
colours for the whole Christian year, there 
could be no such thing as a sequence of colours 
in the ancient Sarum use, corresponding in 
degree to the modern Roman sequence. There 
was no sequence of colours in the Levitical sys- 
tem ; and there was also none, in the sense in 
which the word is now used, in the ancient ^he Ancient Use of 
Anglican system. This is the tradition of the Liturgical colours, by 
Church of England. " c. c. Roife, p. ns. 

"Just one word needs to be said with regard 
to embroidery generally. Our modern em- 
broidery will never compare with the opus 
anglicanum^ the old Anglo-Saxon work, unless 
we can get our Sisters of Mercy who do the 
•work to stick to the old Church of England 
colours. At the present day in all ecclesiastical 
art there is too great a tendency to do a thing 
simply to look pretty, forgetting the doctrinal 
which ought to underlie all pure ecclesiastical 
art, whether it be stone-cutting or needlework. 
Colours of almost all shades are now again used 
in modern needlework, as freely as they were 
in the work of the fifteenth and sixteenth cen- 
turies. In the Reformed Church of England 
these things ought not to be. Certainly for 
the sacrificial vestments of the Sanctuary, none 
but good materials of the five mystic colours of 



224: An Anglican Study 

the Law ought ever to be used. Even in mak- 
ing up the scarlet cassock care should be taken 
that no black or brown or other colour un- 
authorized by the Law be used, even in the 
stitching or lining. These are, indeed, but 
TheAncient Use of little things; but it is in 'little things,' as 
Liturgical Colours, by Michacl Angclo has remarked, that perfection 

C. C. Rolfe, p. 216. COnsistS. ' ' 

The following is the title of a modern book 
on embroidery, "Hand book of Embroidery, 
by L. Higgin, edited by Lady Marion Alford, 
published by authority of the Royal School of 
Art Needlework, and dedicated to their Presi- 
dent, H. R. H. Princess Christian of Schleswig- 
Holstein, princess of Great Britain and Ireland, 
London and New York, Scribner and Welford, 
1880." 

The summary here made from that volume 
of the list of principal stitches in hand em- 
broidery as taught in that Royal School of 
Art, will be found helpful, and a reference to 
the book will assist the needleworker greatly. 

Stem stitch 

Split stitch 

Sarin stitch, or French Plumetis 

Blanket stitch 

Knotted stitch, or French knot 

Bullion knot 

Chain stitch 

Twisted Chain, or Rope stitch 

Feather stitch, or "Opus Plumarium"; "so 
called from its supposed resemlance to the 
plumage of a bird." Commonly called "long 
and short stitch, " "long stitch, " and sometimes 
"embroidery stitch." 

Then come "Couching, or laid embroidery." 

"Plain couching, or 'laid embroidery.' " 

"Net patterned couching. The fastening 

stitches are placed diagonally instead of at 

right angles, forming a network, and are kept 



In Christian Symbolism. 225 

in place by a cross-stitch at each intersection. 
This style of couching was commonly used as a 
ground in Ecclesiastical work of the fourteenth 
and fifteenth centuries. " 
Brick stitch 
Diaper Couching 
Basket stitch 

"The Spanish school of Embroidery has 
always been famed for its excellence in this 
style, and has never lost the art." 

"Basket stitch is mostly used now for Church 
Embroidery, or small articles of luxury." 

"Diapering is generally employed in the 
drapery of small figures and in Ecclesiastical 
work. ' ' 

"Cushion stitch, the ancient Opus Pulvinar- 
ium of the Middle Ages, likewise called 'Cross 
stitch.' " 

This stitch as "Berlin Wool work" had a 
popularity which died out, and now (1898) as 
was suggested would be the case, is again being 
revived. It does not enter into Ecclesiastical 
work proper. 

"Burden 'stitch, another form of Cushion 
stitch, ' was used for flesh in very ancient em- 
broideries, even before the introduction of the 
Of us Anglicanum^ and is found in the works 
of the Flemish, German, Italian, and French 
schools of the fourteenth and fifteenth cen- 
turies." In concluding the subject of stitches 
the author thus refers to the Opus Anglicanum, 
the pride of all Anglican Churchmen. 

"Perhaps we ought not to omit all mention 
of the Opus Anglicum or Anglicanum (English 
Work) though it is strictly ecclesiastical, and 
therefore does not enter into our province." 
Reference is then made to what Dr. Rock has Handbook of Em- 
said on the subject, which has been already broidery, by l. Hig- 
quoted in this chapter. gin, pp. 19.53. 

The "Plain and Net Couching" spoken of. 



226 An Anglican Study 

are used frequently in the Ecclesiastical work 
of to-day, and are both sometimes termed, the 
"Italian stitch." 

For couching Gold Cord, there is a peculiar 
silk known as "Maltese, or Horsetail." 

In the use of Gold Cord, only the very best 
quality, should ever be used for Ecclesiastical 
work. Many are deterred from undertaking 
the work because of the expense of the 
materials; others will purchase as for secular 
work, materials effective, but not to last. 

The Japanese Gold Cord from 60c. to 65c. 
per skein, is the best. With all the instruction 
that this compilation hopes to give, together 
with reference to the works cited, there will be 
a something wanting to the needleworker for 
the Church, which can only be gained by per- 
sonal touch with the Sisters of the Anglican 
Church, or with some one who has been in- 
structed by them. Beautiful embroidery can 
be done by others, but to interpret the meaning 
of Church embroidery, and transmit its teach- 
ings, can come only from direct inheritance. 
In America, where the order of Saintly workers 
who retire from the World, do not find the 
National assistance to their perpetuation, the 
Church in America must look to organizations 
of conscientious Church workers, who consecrate 
their service in this work, though not their 
whole lives, to perpetuate this sacred and his- 
toric art which strengthens and fortifies the 
Church. 

In the preparation of the Cut work for trans- 
fer, there is used a paste ; a very good one can 
be made with Rye flour and water, as Flour 
paste is made. The application is made to the 
back of the embroidery before taking from the 
frame, but requires the instruction of a teacher 
to insure success. 

Chain Stitch. "No stitch is more popular 






In Christian Symbolism. 227 

than chain stitch for working Church linen. 
Where dots are indicated, to enrich or fill up 
portions of a pattern, the common back stitch 
worked in soft, ^dotting cotton' will produce 
the right effect. This stitch may be satis- 
factorily used, to fill in the vine-leaves in sacra- 
mental designs. 

Where colours are approved, the leaves may 
be outlined, in chain stitch^ with crimson, the church Embroidery, 
veins in blue, and the dots in white. " by a. Doiby, p. loi. 

In the use of the colored threads for the 
chain stitching for the Alb, they are thus 
spoken of "The origin of coloured chain-stitch 
on the alb may perhaps be traced to the custom 
of embroidering the under linen garments of 
the people of rank in the Middle Ages with deli- church vestments, 
cate borders of colour. ' ' a. Doiby, p. 85. 

While this may be true as to custom, yet the 
Anglican Churchman prefers to attribute a 
deeper meaning, associating the use of the Red 
and Blue on the white, with the "mystic 
colours of the Law,*' which while five in num- 
ber, includes the gold, that is a metal, and if you 
remember that the combination of red and 
blue produce the purple, you may then con- 
sider that the essential colours as prescribed, in 
the "Mystic" number, are present when using 
the blue and red on the white, leaving the gold 
for the fabrics, that do not require washing. 

One of the writers often quoted is thus 
spoken of by the Handbook of Embroidery, by 
L. Higgin, edited by Lady Marion Alford on 
page 7. 

"Mrs. Dolby, who by her presence and her 
teaching helped Lady Welby to start the Royal 
School of Art-Needlework, has left behind her 
a most valuable guide for Mediaeval work in 
her 'Church Embroidery, Ancient and 
Modern,' which will always be a first class 
authority." 



228 An Anglican Study 

About the time of Constantine learn that the 
beautiful Orphreys were introduced "the strips 
of cloth called 'clavi, ' which hitherto had been 
used for ornamenting the priestly dress, in 
accordance with its secular type, began to be 
exchanged for bands of costlier material, 
orphreys, to correspond with the greater 
splendour of the fabric of the robe. " * * * 
"It was a custom, 'says Dr. Rock, which 
universally prevailed amongst the ancient 
Romans, to ornament every garment with 
stripes of cloth and fringes of a purple colour. 
The stripes were called 'Latus-clavus' if broad, 
and 'Augustus-clavus' if narrow. The breadth 
of this ornament was commensurate with the 
rank and dignity of the wearer.' " The 
Orphreys of the Chasuble are thus described, 
"In ancient times the orphreys were called 
thus: the front vertical band, th.Q pectoral; the 
corresponding one behind, the dorsal \ and 

A. ci^oTby, ppXr^nd those which extend to the shoulders, the 

59. humerals. ' ' 

This term Orphrey has been used to desig- 
nate the stripes of handsome materials either 
with or without embroidery, which are placed 
on the frontal and super-frontal of Altar cover- 
ings. 

To verify the statements often made in these 
lectures, the following passage would seem to 
have been written, which shows, too, that hap- 
pily the Church embroiderer of to-day has 
already begun a return to the better execution 
of the work, by a study of that period, which 
produced the best examples of needlework, 
when heart and hand were both in the work. 
"The more ancient the needlework, the more 
remarkable do we find it for beauty of effect, 
gained by simple means. The designs ex- 
hibited on the oldest relics of embroidered vest- 
ments are of the plainest, although frequently 



Church Vestments, 



In Christian Symbolism. 229 

of the most symbolic character; and in their 
execution by the needle, not a stitch has been 
used which, if drawn away, would not leave 
the pattern incomplete. 

One great feature of the Anglo-Saxon work 
was its lightness. The gold and silks were 
made to trace the pattern, as it were, on the 
surface of the main fabric of the article orna- 
mented. " * * * ''There is a growing 
taste for the revival of this graceful description 
of sacred embroidery. Most of our leading 
architects are adopting the ancient style of 
ornament in church decoration, and, where 
they are consulted in the matter of vestments, 
encourage, and very properly, a preference for 
works of the needle which are in character with church Vestments, 
the building wherein they are to be used. ' ' a. Doiby, p. 177. 

Anastasia Dolby has thought it worth while 
to give a whole chapter entitled "the Vest- 
ment-makers charge to the Sacristan. " It would 
be well to study carefully the instructions 
therein given. The following is quoted as 
helpful to all churches. 

"The protection of bullion embroidery and 
cloth of gold from damp and bad air is another 
important duty of the sacristan. The drawers 
wherein vestments enriched by the precious 
metals are kept should be lined with thick 
flannel — not green baize, for the green dye is 
fugitive, and destructive to gold and silver. 
Covers of unbleached calico, which have been 
steeped in saffron water, should also be pro- 
vided to fold about the garments when they are 
laid by ; and even layers of the same saffron- 
dyed calico, placed over the gold embroidery 
itself will protect it from the influence of a 
pernicious atmosphere better than anything 
else." 

Speaking of the office of a Sacristan, it is 
stated that "twenty years ago such a man might 



230 An Anglican Study 

have been difficult to find, to occupy this post, 
in the Church of England. " * * "Happily, 
however, this is not now the condition of such 
things, in any church where its rites are 
solemnly observed; and we can suppose that 
in every band of choristers, or acolytes, there 
is a youth, of good principles and right feeling, 
Church veBtments, ready to be selected for initiation, and instruc- 
A. Dolby, pp. 188, 189. tiou, in the duties of a sacristan." 

To these suggestions the Compiler would 
urge an earnest protest against the modern 
custom of sending Vestments to be cleaned, or 
dyed, to those engaged in such work for the 
general public, and would call attention to the 
gifts of old, made to those in sacred orders, to 
insure a revenue wherewith to remunerate 
them for their care in the cleaning and preserv- 
ing of the sacred vestrrients, as indicative of 
the high regard had for such work. 

That there is a peculiar mission, not only for 
America, but for the Anglican Churchman; 
her children engaged in the study of the His- 
toric Ecclesiastical Embroidery cannot doubt. 
For when the devotion of the "Cloister" is 
warmed and intensified by the "hearth," the 
religion of Christ becomes a living, active and 
contemplative one, illustrating forcibly the fol- 
lowing statement found in The Churchman of 
July 9, 1898. The title of the article is "With 
the Mystics," wherein it is said: "It has been 
often remarked that the American people have 
a peculiar faculty for observing, but are im- 
patient of contemplation. Consequently the 
main characteristic of parochial life is the width 
of its external activity. And among individ- 
uals Marthas are superabundant, Marys more 
rare than the nightingale, and that attractive 
composite character, the depth of whose activ- 
ity is due to the intensity of its contemplation, 
is hardly less rare. Yet it is this latter type of 



In Christian Symbolism. 231 

excellence, standing as it does midway between 
the Cloister and the hearth, that ought to be 
the product of the Angio-Saxon Christianity 
which is our heritage. Whatever arguments 
there may be for attempting to cultivate the 
active and contemplative characters as distinct 
and separate types, this at least is certain, that 
Jesus combined both, as did the men who fol- 
lowed Him. The Apostles turned the world 
upside down because they kept the vision of 
God clear before them. It is this balance that 
we of this day need to strike." 

The reverent study of Ecclesiastical Em- 
broidery in any Diocese of the Anglican Church 
will surely help to effect this desired consum- 
mation. An organization should be set apart 
for the purpose of such study, with a deeply 
consecrated service, led by a teacher whose 
knowledge of the work should, if possible be 
traced to instruction, received from those holy 
women who in direct line, have plied and pre- 
served the art in Cloisters, because the past age 
and European countries demanded that the work 
be so done. To-day — in America and this age, 
demands are made for a modified cloister, and 
a more spiritualized membership of the entire 
Anglican Church. 

The humblest worker, in this line, is doing 
her part in the fulfillment of God's purpose, 
and the end cannot be seen by finite beings — 
blindly, it may be, the steps are taken, but re- 
member that it has been said ''Obedience to- 
day gives illumination for to-morrow." 

As a summary of this chapter, what does the 
Churchman find most satisfactory? Is it not, 
that there is a historic, religious and spiritual 
side to the question of Ecclesiastical Embroid- 
ery ; and to the Anglican Churchman has come 
down a heritage, dating from the commands as 
given to Moses, which is manifested, in the use 



232 An Anglican Study 

of the "five mystic colours of the Law," found 
in the "Sarum use"? 

To this grand heritage is added, the beauty 
and execution of the work, as done by the 
Anglo-Saxon women, which suggests another 
heritage, not proved in these papers, but noted 
that Anglo-Saxon, and Anglo-American, are also 
Anglo-Israel. Time, with its wealth of revela- 
tions, may give facts to prove all that has been 
here suggested, and much more. 

A third and last point, is the one of the 
Anglo-American responsibility in this matter 
of Ecclesiastical Embroidery, executed, as it is 
more likely to be by women, of the Church, 
spiritual ; but not set apart in Cloister. 



SUMMARY. 
Chapter X. 

Before closing the pages, and sealing the 
whole by publication, the Compiler finds an 
increasing desire to hold open the sheets, and 
continue the work of research, which has been 
most helpful and delightful ; whole realms of 
thought have been the result of the study, and 
now as about to give to others what has taken 
many days and hours to gather, the sense of 
incompleteness is overpowering. There is not 
one page of this compilation, which, if followed 
out, would not reveal depths of thought and 
history, little dreamed of before. As sug- 
gested at the first, if these jottings serve to bring 
together facts heretofore scattered, and incite 
others to more exhaustive work in this line, the 
volume may lay claim to being one step, or 
only a half step forward in the line of advance. 

From this incomplete study, it seems to be 
possible to gather First, that true and beauti- 
ful symbolism is traced directly to a gift from 
God, as manifested in His word by countless 
examples, from Geneses, to Revelation. 

The fourteenth, fifteenth and sixteenth cen- 
turies marked a decline, in art, especially of 
the needle. ,' 

That the early Christian centuries preserved 
the purer forms and evidences of symbolism, as 
to Vestments, Colors and designs, both for 
the needle and the brush. 

With the Dark Ages, crept in an increased 
and increasing fineness of detail, and it might 
be styled the human side of art, was developed 



234 An Anglican Study 

at the sacrifice of the spiritual. Thus the finer 
stitches in the work of the embroiderer are 
found in those ages ; so, too, with the Artist of 
Brush and Chisel. The execution became finer, 
and the beautiful symbol, and spiritual signifi- 
cance was lost by "overloading." 

That to the Anglican Church, has been per- 
mitted by God the sacred privilege of preserv- 
ing best of all, in a direct line, from Moses, one 
mode at least of Symbolism, as given by God, 
in the use of the "five mystic colours of the 
Law." 

With the seventeenth century, some marked 
changes for the better became manifest in the 
embroidery of the Needleworker in Ecclesias- 
tical Art. 

That period followed the age of fine execu- 
tion, as to details, which lacked force, that has 
been shown to have accompanied the period of 
the Wars of the Roses; The seventeenth cen- 
tury, too, followed the Reformation or going 
back of the Anglican Church to her true and 
historic inheritance. 

The eighteenth century has brought the sub- 
ject down to the nineteenth without marked 
changes till to-day is found an ever-increasing 
desire to profit by the failures and successes of 
the past, expressed in the work of the Needle- 
worker, the Artist and the Architect, who 
have each a clearer and better idea of true and 
pure Symbolism ; together with a firmness of 
execution that shows a better understanding of 
the breadth and meaning of the Art they 
severally follow. When consecrated to the 
service of God and His Church, will be developed 
a "handmaid" to the religion of Christ's Church, 
which shall make the power of their art to be 
felt down through the ages yet to come. 

To no people does the admonition come to be 
faithful to the trust assigned to them, as it does 



In Christian Symbolism. 235 

to the American branch of the Anglo-Saxon 
race, perpetuating the AngHcan Church. This 
Church has been clearly shown to be "The 
Church for Americans" in the able volume 
written by The Very Venerable Archdeacon 
Brown of Ohio, now Bishop Coadjutor of the 
Diocese of Arkansas. 

The loving interest in the work, and constant 
sympathy of the Sisters in the Anglican 
Church, in America, with and for the work, 
conducted in Ohio under the name of "The 
Class in Ecclesiastical Embroidery of the 
Diocese of Ohio," shows the American in- 
fluence. While the beautiful, historic art of 
the needle has in other lands, for the Church 
been done chiefly by those noble women, who 
felt themselves called of God, to absent them- 
selves from the world around them, and work 
for God in seclusion ; yet here in America, the 
freedom (that seems to be borne upon the 
very breeze,) has opened the doors of the 
Cloister Sisters, to the Church needleworker 
to enter their outer precinct^ and learn the 
sacred art, transmitting the same to ear- 
nest workers in the Church, who, though in the 
world, by God's grace strive to live as not of it. 

In closing this book, the writer hopes that 
every reader will realize the solemnity of the 
work entrusted to its members by the Church 
in America ; especially should the women know 
their responsibility, and with consecrated ser- 
vice become more worthy each year, of the 
sacred calling, which they cannot lightly put 
aside, as members who possess a " Talent.'' 



ADDENDUM. 

There has recently been pubHshed, which 
comes to the compiler, just as these pages go 
to the printer, the first of a series of Tracts, 
called the "Alcuin Club Tracts." It bears the 
name as publishers of Messrs. Longmans, 
Green & Co., London, New York, and Bom- 
bay, 1898. The subject of the first is "The 
Ornaments of the Rubric" by J. T. Mickle- 
thwaite, F. S. A. On the fifth page is to be 
found the "Advertisement by the Committee," 
which states that "The Alcuin Club Tracts are 
issued under the direct supervision of the Com- 
mittee ; but the author of a tract, when it is 
published with his name, is alone responsible 
for the details. In the present instance many 
suggestions have been made in the course of 
the consideration of the Tract by the Commit- 
tee, and some of these have been incorporated 
by the author. The Tract, may be said, in a 
general sense, though not in every detail, to 
represent the views of the Committee. ' ' 

This is the beginning of a line of publica- 
tions, that will throw a great and beneficial 
light on the subject, of so much interest to the 
Anglican Churchman. 

The writer thus speaks of the subject: 
**The science of Ecclesiology, invented about 
half a century since, at a time of strong religi- 
ous revival, soon attracted many enthusiastic 
disciples. But enthusiasm without study could 
not carry its subject very far. There has 
been a succession of real students from the 



In Christian Symbolism. 237 

beginning, but the sciolists have been the 
more numerous and perhaps the more aggres- 
sive, and when ecclesiological teaching became 
ecclesiastical practice their influence on its 
course was by far the greatest." The result 
of this is shown to be a "standard called cor- 
rectness" which has "no definite principle un- 
derlying it. " * * * "Several elements have 
contributed to its making. Reading had 
little to do with it, a superficial knowledge of 
our own ancient churches rather more, and 
hints taken from modern practice in foreign 
churches most of all." * * * "As a matter 
of taste this is deplorable, and as a matter of 
policy it is mischievous. The wish to make full 
use of the Prayer Book and what it orders 
comes of the increasing vitality of the 
Church " * * * ''The desire to add to the 
dignity of the surroundings of public worship 
beyond what was usual in our grandfather's 
time is a right and proper one, and it will go 
on increasing. But as to ornaments it may be 
satisfied without going beyond the Book of 
Common Prayer. The intention of this present 
tract is to show what were the ornaments used 
at the time the rubric names, and it will be 
seen that it includes enough for the setting 
forth of a most ornate ceremonial, and some 
things besides, which perhaps no one would 
wish to revive now. The mention of such must 
not be understood as recommendation of their 
use. But the things were in use at the time 
which fixes the law, and it would be very diffi- 
cult to maintain that their presence in a. 
church would now be unlawful. And cer- 
tainly, if the usages with which any of them 
were connected should be restored without any 
new directions concerning them being given by 
proper authority, those ornaments and none 
other ought to be used." This brings the sub-^ 



238 An Anglican Study 

ject back to the point mentioned early in these 

papers, viz., that by retrospect, and study, this 

nineteenth century should develop the use of 

No. 1 of Aicuin Club Symbolism an advance, as shown in the best 

Tracts -The Orna- ^gg ^f ^j] j^g modcs in evcry line of Church 

ments of^the Rubnc,^^^j^. which Certainly is strengthened by the 

thwaite, F.s. A., pub. quotation just made referring to "the Orna- 

1898. ments of the Rubric." 



INDEX 



Abbatical See, . - - - 

Abbot, . . - - - 

Abraham, .... 

Achaius, . . . . - 

Adoration of the Cross, 
Adrian, Pope .... 

Africa, . . - - - 

Ages, Dark, - - - - - 

Ages, Middle, ... - 

Alcuin Club Tracts, 
Alexandria, .... 

Altar, - - - 32, 36, 153, 

Altar Coverings and Chancel Hangings, 
" Alms Bags, - 

♦' Altar Linen, 

" Antependia, - 

" Credence Cloth, 

" Dorsal or Dossal, 

" Fair Linen Cloth, 

" Frontal, 

" Super-frontal, 

Altar, Super, 

Angelo, Michael, 

Anglican Use, 

Anglo-American, 

Anglo-Israel, 

Anglo-Norman, ... 

Anglo-Saxon, - - - 38, 82, 

Anglo-Saxon Use, ... 

Antioch, 

Apocalypse, 

Apostolic, 

Archbishop, 

Armenians, - 

Art Christian, 

Art History, 

Art Mediaeval, 

Ascension, 

Assyria, 

Athelstane, - 



PAGE 

85 

85 

- - 45 

24 

23 

43 

49 

5, 12, 17, 19, 52, 53 

5, 13, 61, 66, 155 

236 

49 

158, 166, 184, 185, 186, 211, 222 

- 185, 228 

187 

- 188, 227 
- 33, 186, 187 

- 186, 187 
187,211 

-167,186 

185,228 

166, 185, 186, 228 

141 

224 

77 

-219,232 

232 

220 

219, 220, 222, 229, 231, 232, 235 

86 

15 

9 

35 

-32,83 

4,68 

17, 18, 42, 53, 56, 62, 146 

. . 17 

12 

• 47 
46 
24 



INDEX. 

Banner, ----..... 42 

Baptism, -.....-. 48,49 

Baptistries, ---.--.- 49 

Bede, 87, 217 

Benediction, Greek, - - - -- - - 19 

Benediction, Latin, .-.--.. 19 

Bishop, ---------85 

Bishop of Antioch, ------- 15 

Blunt's Annotated Book of Common Prayer, - . . 76 

British Israelites, -.--... 221 

Burgundy, ---.-_.. 23 

Byzantium, _______ 2 

Calvary, - - - - - - - 19, 22, 24, 34 

Catacombs, - - - 9, 14, 17, 18, 22, 42, 44, 47, 48, 53, 59, 212 

Cathedral of Mentz, ------- 38 

Celts, - - 219 

Century, First - - - - - - - - 31, 49 

Second ----- 31, 44, 49, 127, 174 

Third - - - - - - - 29, 31, 49, 127 

Fourth - - - 17, 31, 42, 49, 51, 53, 56, 150, 184 

Fifth - - - - 17, 18, 25, 31, 42, 45, 51, 56, 150 

Sixth - - - - - 31, 72, 87, 161, 175, 176 

Seventh ..--_._ 153, 199 

Eighth - - - - 158, 162, 173, 199, 212, 213, 214 

Ninth - . _ - . 18, 158, 168, 175 

Tenth - - - - - - - 52, 157, 158 

Eleventh - - - - - 36, 48, 51, 72, 87, 177 

T^^u.u j 16, 25, 27, 88, 156, 159, 171, 172, 

xweuxn " ' ' ) 175 177 199 212 213 214 215 

Thirteenth 18, 42, 107, 158, 160, 197, 198, 199, 200, 204, 205, 217 
Fourteenth - 37, 170, 171, 172, 176, 203, 208, 214, 225, 233 

Fifteenth - - - 23, 154, 169, 206, 223, 225, 233 

Sixteenth - 5, 38, 48, 52, 56, 73, 82, 154, 172, 214, 215, 223, 233 
Seventeenth ------- 207, 234 

Eighteenth __-_-.. 215, 234 

Nineteenth ------ 5, 234, 238 

Charity, _.------ 34 

Charlemagne, --------41 

Charles VI., -------- 55 

Cherubim, -------- 211, 212 

China, -------- 67 

Chrisma, -------- 25 

Christian Art, - - - 17, 18, 31, 35, 42, 43, 53, 55, 56, 62, 146 

Christian Symbol, ------- 6 

Christian Symbolism, - - - - - - 5, 17, 19 

Church, --------- 13 

*' Alexandria _--__- 3 

** American ._--_-- 2 

., ^ ,. { 1, 2, 5, 35, 61, 73, 74, 77, 81, 89, 97, 

Anglican - - - | ^^^^ ^^^^ ^^^^ ^gg^ ^g^^ ^^^^ ^^g^ ^gg 



INDEX 



Church, Antioch 

" Armenian 

** Assyrian 

*' Austro- Hungary - 

*' Bulgarian 

** Catholic 

*' Christian 

'• Constantinople 

" Coptic 

" Cyprus 

** Eastern 

*' Eastern Orthodox 

*• Eastern Unorthodox 

" England 

♦' English 

** For Americans 

*' Greece . 

*« Greek 

** Holy Orthodox, Eastern 

" Jerusalem 

** Latin . 

'* Levitical . 

** Montenegro 

" Nestorian 

" Of the Apostles 

*' Oriental 

'* Roman 

" Rome 

'* Roumania 

'* Russian 

" Seven Churches 

" Servia 

** Syrian 

" Western 
Clement, .... 
Cloister, 

Cloth of Tarsus, . 
Coenaculum, 
Color, Symbolism of 
Colours, Liturgical 
Colour of Tarsus 
Constans, 
Constantine, 
Constantinople, 
Coronation Stone, 
Cosin Bishop, 
Council of Ephesus, 
Council of Chalcedon, 
Cox, Bishop 
Creator, 
Credence, 



3 

- 1, 2, 3, 4, 5 

- 2, 3, 4 

3 

3 

- 4, 74, 97, 102, 166 

13 

3 

2,3 

3 

1, 3, 22, 155 

. 1, 2, 3, 4, 5 

1,2, 3,5 

2, 102, 166, 223 

. 81, 83 

235 

3 

1, 3, 9, 67, 68, 73, 164, 167 
2,3 
3 
167 
155 
3 
2,3 
149 
3 
1, 2, 5, 22, 49 
2, 5, 81 
8 
3,4 
1,2 
3 
2 3 
9, 22, 4li 151, 155 
9, 59, 93 
230, 231, 232 
70 
149 
7, 10, 14 
80 
69 
2 
!, 22, 23, 25, 30, 35, 228 
1,2 
222 
81, 82, 86 
4 
4 
. 59, 60 
15,16 
. 32, 184 



INDEX. 



Crucifixion, 

Crusades, 

Cutts, D.D., E.L., 

Dan, Tribe of, 

Dark Ages, 

David, 

Decalogue, 

Diocletian, - 

Disraeli, 

Divisions of Lines, 

Dolby, A., 

Dudley, Bishop, 

Dugdale, 

Durandus, 

Easter, 

Eastern and Western Empire, 

Ecclesiology, 

Edmund Ironside, 

Edward the Confessor, 

Edward III., 

Edward VI., 

Egypt, 

Egyptian Art, 

Egyptians, - . - 

Egyptian Tau, - 

Elijah, 

Elisha, 

Emblem and Emblems, 

England, 

Ephesus, Council of, 

Eucharist, 

Eucharistic Symbols, 

Evangelists, 

Ezekiel, 

Fairholt, 

Faith, 

Farrar, Canon, - 

Figure, 

Five Patriarchates, 

Five Modes of Symbolism, 

Flagellation, 

Flowers for Altar Use, List of 

Fonts, 

France, 

Franks, - 

Genesis, 

Gentiles, 

Golden Fleece, 

Greek, . - - 

Greek Benediction, 



PAGE. 

- 28, 30 
19, 214 

- 30, 62 
219,222 

5, 12, 17, 19, 52, 53, 216, 233 

45 

15 

2 

218 

14 

- 36,152,173,227,229 

33 

154 

43 

72 

2 

236 

220 

220 

42 

- 74, 75, 76, 83 

20, 28, 219, 221 

56 

20,21 

35 

47 

47 

- 1, 8, 9, 10, 11, 18 

37, 38, 42 

4 

60, 152, 154, 166 

31 

- 45,46 
45,46 

5,10,65 

34 

25, 28, 30 

1, 8, 9, 10, 11 

99 

1, 7, 14, 138 

- - - 23 

- 142,143,144,145 

- 49, 107 

54,55 

54 

7,233 

- 28, 29 

23 

35, 49, 212 

18 



INDEX. 



Greek Uncials, - - - 

Hand-Maid, 

Head of Judas, - - - 

Hebrew, _ . - 

Heraldry, 

History, Art, 

Historic Episcopate, 

Holy Spirit, 

Hope, - - - - 

Hulme, 

Huntington, Bishop, 

Hymn, Eventide, 

I(esus), H(ominum) S(alvator), 

Incarnation, 

Instruments of the Passion, 

International Scientific Series, 

Introductory, 

Ireland, _ _ . 

Isaiah, Prophet, 

Israel and Israelites, 

James I., . . _ 

James VI. of Scotland, 

Jeremiah, . _ _ 

Jews, _ - _ 

juda, - - - - 

Justinian, 

Kempis, Thomas A., 

Khaib, 

Labarum, _ _ _ 

Latin, . _ _ 

Latin Benediction, 

Lecturn, . _ _ 

Lent, - - - - 

Levitical, . - _ 

Lincoln Diocesan Magazine, - 

Lintel, _ _ _ 

Liturgica Cloth, 

Liturgical Colours, 

Louis IX., . _ _ 

Mahan, Dr. Milo, 

Majuscules, . - _ 

Malcolm, King of Scotland, 

Margaret, Queen of Scotland, 

Martyrdom, 

Mediaeval, _ _ . 

Mediaeval Art, 

Mentz, Cathedral at. 

Middle Ages, 

Milesia, . . . . 

Minuscule, 



PAGE. 

27 

6,234 

12 

21, 47, 212, 213, 216, 217, 218, 220 

- - - 20 
- ' - - - 17 

- 5,98 
52,53 

34 

22, 25 

7 

60 
26 

3,28 

12 

27 

1 

219 

44 

16,20,35,222 

222 

222 

219,221 

- 20,28,29,44,73 

46,219,222 

2, 41 

33 

56 

26 

49 

_ ... 18 

47,209 

- 66, 72 
88,89,223 

77 

20 

209 

80 

42 

91 

27 

220,222 

- 181,213,222 

23 

- 74, 152, 170, 207, 209 

12 

38 

5, 13, 61, 66, 155, 211, 215, 225, 227 

49 
27 





INDEX. 






PAGE. 


Moses, 


. 


. 21, 56, 79, 218 


Murex, 


. 


82 


Mysteries Sacred, 


. 134. Holy, 138, 151 


Mystic Colors of the Law, 


i 73, 74, 75, 76, 8 1 , 86, 100, 137, 166, 
\ 195, 216, 218, 223, 227. 232, 234 


Naples, 


. 


18 


New Testament, 


. . 16, 40, 47, 48, 209 


Needle Worker 


and Embroidery, 


( 14, 32, 190, 195, 196, 197, 201, 209, 
I 210, 211, 213, 216, 222, 225, 234 


(( ( 


* Auriphrygium, 


204 


(( ( 


' Basket Stitch, 


225 


<t ( 


♦ Blanket Stitch, . 


224 


(( ( 


* Brick Stitch, 


225 


(( { 


* Bullion Knot, 


224 


(( ( 


♦ Burden Stitch, 


225 


(( ( 


' Chain Stitch, 


205, 206, 207, 216, 218, 224, 226, 227 


(( ( 


* Chosen, 


192, 193 


(( ( 


* Couching, 


224,225 


(< ( 


' Cross Stitch, 


218, 225 


(t i 


* Cunning Worker, 


192, 193 


(( ( 


' Cushion Style, 


218 


(( ( 


' Cut Work, or Opus Consutum, . 193, 208, 226 


{( ( 


* Diaper Couching, 


225 


(( ( 


* Embroider, 


192, 193 


(1 ( 


' Feather Stitch, 


205, 206, 207, 217, 224 


(( c 


* Italian Stitch, 


226 


^t i 


' Japanese Gold Cord, ... 226 


(t ( 


♦ Knotted Stitch, or 


French Knots, . . 224 


t< ( 


' Laid Embroidery, 


224 


<( ( 


' La Marguerite, or 


Daisy, . . .203 


(( ( 


Maltese, or Horsetail, ... 226 


(( ( 


* Monastery of Syon 


202 


(( ( 


* Needle Worker, 


192, 193 


(( ( 


* Net Couching, 


224,225 


(( ( 


* Opus Anglicanum 


198,223,225 


{< { 


' Opus Anglicum, 


{ 197, 198, 200, 202, 205, 206, 210, 
) 212, 213, 216, 217, 218, 225 




(( i 


* Opus Araneum, 


208,209 


(( ( 


' Opus Consutum or 


Cut Work, . 208, 226 


ti ( 


* Opus Pectineum, 


218 


it ( 


* Opus Plumarium, 


. 205,217,224 


(( ( 


' Opus Pulvinarium 


218,225 


i< ( 


♦ Paste, 


226 


(( i 


' Phrygian, 


204 


t< ( 


' Phrygium, 


204 


<( < 


' Plain Couching, 


224,225 


(( ( 


* Rokem, 


192, 193 


(( I 


« Rye Flour, 


226 


(( ( 


• Saint Margaret Queen of Scotland, . . 203 


<4 ( 


♦ Saffron Dyed Calico, ... 259 









INDEX. 


























PAGE. 


Needle Worker and 


Embroidery, 














(( ( 




Sarin Stitch, or 


French Plumetis 






. 


22 


(( ( 




Split Stitch, . 










216 


22 


i< < 




Stem Stitch, 




. 




, 


. 


224 


<i ( 




Syon Monastery Cope, 


. 






197, 200, 


201 


it I 




Tashbetz, 








, 


192, 


]93 


H ( 




Tent Stitch, . 


. 


. 








218 


It ( 




Twined Linen, 




. 




. 


. 


196 


(( I 




Twisted Chain, 


or Rope 


Stitch, 








224 


Noah, 


. 










. 


^50 


Old Testament, 


. 






* . ' 16, 


20, 40, 47, 48, 


192 


Optatus, 








. 








49 


Ornaments Rubric, 








. 


75 


,76, 


168, 236 


238 


Orpheus, 
















50 


Orphrey, 


. 






* 36, 170, 171, 


183, 


204", 212, 


228 


" Augustus 


Clavus, 






. 






36, 


228 


Dorsal, 


. 






. 








228 


" numerals 


. 














228 


" Latus Clavus, 






. 






36, 


228 


*• Pectoral, 


. 






. 








228 


Osmund Bishop 


. 






. 






84, 85, 86 


Pagan, 


. 






. 




. 


6, 50, 56, 59 


Painting with Embroidery, 






, 








215 


Palaeography, 








, 




, 


. 


27 


Palestine, 


, 






. 










20 


Pan Anglican Synod, 






. 




. 






68 


Papyrus, 


, 






. 










27 


Pentecost, 


. 






. 




. 




51, 


146 


Persians. 


. 
















4 


Persons in the God-Head, 
















16 


Piscina, 








. 










49 


Pompeii, - 


- 






. 




- 






59 


Printing, 








. 








5 


Pugin, 








. 




13, i 


L4, 22, 26 


,27 


Quini Sextum, 








. 








41 


Rain-bow, 








. 




. 


_ 


7 


Rationale, 








. 








151 


Reformation, 








12, 31, 


74 


84," 


154, 178, 


234 


Regeneration, 
















107 


Renaissance, 








. 




_ 




48 


Resurrection, 


- . _ 




_ 






18 


,24 


Re-Table, 






. 




. 




141 


Revelation, - 


- 




. 






7,43, 


233 


Rock, Rev. Daniel 






i 


20, 


21, J 


J5, 36, 7C 


>, 71 


Rolfe, C. C, 


- 




. 






79,81 


,86 


Roman Empire, 






. 




. 




1 


Roman Sequence, 


. 




_ 


73, 81. 


84^ 186, 


223 


Rome, 






_ 




. 


- 18 


,35 


Rufinus, 


- 




_ 




. 




21 


Ruskin, - 






. 




. 


. 


55 


Russia, 




- 


- 




. 




- 






23 



INDEX. 

PAGE. 

Sacred Mjsterj, ....... 134. 

Sacrifiee, ---..... §7 

Sacrifice Typified, - - - - - 101,103,156,157 

Sacristan, --..-... 229 

Saint Andrew, --.--.--23 
Saint Augustine, -.-...- 48 

Saint Bernardine, - - - - - - - 26, 27 

Saint George, - - - . - - - 23, 24 

Saint Jerome, - - - - - - - - 21, 45 

Saint Ignatius, ---..-. 27 

Saint John, 16,41,44,45,46,47 

Saint John, the Baptist, -...-- 43 

Saint Margaret, ------- 213, 220 

Saint Patrick, ....... 24 

Saint Paul, ........ n 

Saint Peter, --...-.- 23 

Saint Thomas of Canterbury, .--.-- 37 

Samaritans, ........ 21 

Samit, - - - - - - - . - 70, 82 

Sarum, - - - - - - - - 78, 85 

Sarum Use, 68, 73, 74, 75, 76, 77, 78, 82, 84, 86, 88, 141, 166, 167, 186, 223, 232 
Scotland, ........ 23 

Scottish, ......... 23 

Scots, ..... ... 24 

Sees of Mediaeval England, ...... 85 

Semitic, ........ 219, 222 

Sens, ......... 37 

Sequence Roman, - - - - - - - 73, 81, 84 

Seraphim, ........ 211 

Shekinah, ........ 16 

Shepherd's Crook, ....... 42 

Sienna, - - - - - - - - 26, 27 

Schools of Embroidery, ...... 225 

Flemish, French, German, Italian, Spanish. 
South Kensington Museum, ..... 35 

Summary, -..-.... 233 

Symbol, Christian, .-.--.- 6 

Symbols, Eucharistic, ....... 31 

Symbolic Use of Plants, Fruits and Flowers, - - - 138 

" Amaranth, ....... 139 

*' Annunciation Lily, - - - - - 138 

Apple, ....... 141 

'* Grapes, ...-..- 141 

Lily of the Valley, ■ - - - - - 141 

Narcissus, ...... 139, 140 

Oak, -------- 141 

Olive, -.---.- 140, 141 

Palm, 138, 141 

" Passion Flower, ------ 139, 141 

•* Pomegranate, _.-_.. 140, 141 









INDEX. 








PAGE. 


Symbolic 


Use of Plants, Fruits and Flowers, 


(( 


Rose, 


_ 


139,140,141 


(( 


Scotch Thistle, 


140 


(( 


Snow-drop, 


138 


(( 


Thistle, 


- 


140 


(( 


Tudor Rose, 


140 


(( 


Vine, - 


_ 


138,141 


*i 


Wheat, 


_ 


140,141 


«' 


White Lily, - 


- 188,139,141 


(( 


Yew, 


_ 


140 


Symbolism, 


- 


1, 2, 5, 6, 7, 204, 211, 216, 233, 234, 238 


<< 


of Form, 




(( 


of Co 


lor, 




(( 


of Number, 






of Language, 
of Action, 




Symbolism of Form, 


7, 8, 9, 10, 14, 15, 39, 40, 45, 50, 58, 61, 137 


(( 


" 


Agnus 


Dei, . . 10, 11, 39, 42, 43, 172, 204 


(( 


** 


Alpha 


and Omega, ... 11, 89, 43, 44 


(< 


(( 


Anchor, ...... 14 


(( 


(( 


Angel, 


14,45,47 


*i 


(( 


Animal, ...... 15 


t( 


(( 


Artificial, ..... 14 


<( 


(( 


Aureol 


e, . . . . 49,50,51,57,62 


(< 


«' 


Bow, 


1,7,8 


n 


(( 


Calf, 


45 


{( 


C( 


Celestial, ..... 14 


*i 


(( 


Chi Rho, ... 14, 22, 23, 25, 26, 30, 42 


*i 


(( 


Circle 


52,53 

( 6, 8, 10, 12, 14, 19, 20, 21, 22,23, 24, 25, 28, 29, 


t( 


(( 


Cross, 


\ 30, 31, 32, 33, 84, 35, 37, 38, 40, 42, 43, 44, 50, 
( 52, 137, 171, 184 


*l 


<( 




Actual, .... 34 


(( 


<( 




Anglican, .... 34 


<< 
<< 


(( 
(( 




Anticipatory, ... 20 
Ascension, .... 34 


it 
tt 


(( 
(( 
(( 




Calvary, .... 34 
Canterbury, .... 34 
Crux Ansata, ... 20 


«( 


(( 




Crux Decussata, ... 23 


<i 


(( 




Gammadion, .... 21 


(< 


(( 




Greek, . . . 14,20,21,22,23,24 


(i 


(( 




Handled, .... 20 


<t 


(( 




Latin, . 14, 20, 21, 22, 28, 24, 83, 35, 87 


({ 


(( 




Passion, . . . .22, 24, 34 


*( 


(i 




Resurrection, . . . . 24, 84 


it 


(( 




Saint Andrews, . . ,23, 24, 25 


(( 


(( 




Saint Anthony, .... 35 
Saint George, ... 24 
Saint Patrick, .... 25 


(( 


(( 




Saltire, .... 24 







INDEX. 


PAGE. 


ibolis 


m of Form 


, Cross, Swastica, 


21 






Tau, . 


. 14, 20, 22, 35, 36 






" Type, . 


20 






'* Y, . 


. 36, 37, 171 






Crucifix, . 


. 31, 33, 133, 171 






Cruciform Nimbus, . 


9, 42, 48 






Dove, 


. 11, 14, 39, 50, 51. 53 






Eagle, .... 


11, 39, 45, 46, 47, 51 






Evangelistic Symbols, . 


45 






" Saint John, 


45 






" Saint Luke, 


45 






'* Saint Mark, 


45, 46 






" Saint Matthew, 


45 






Eye, .... 


16 






Fish, 


8, 9, 39, 48, 49, 50 






Fleur-de-lis, . 


54, 55 






Geometrical, 


14 






Grotesque, 


15 






Half Beast, 


15 






Half Man, 


15 






Hand, 


16, 17, 18, 19, 53 






Hands, 


16 






Human Form, 


45, 52, 53 






I. H. C. 


. 25, 26, 27 






I. H. S. . 


. 26,28 






Keys, .... 


14 






Lamb, 9, 10, 14, 31, 39, 40, 41, 


42, 43, 53, 160, 171, 204 






Lamp, 


39, 58 






Lion, 


9, 11, 39. 45, 46, 47 






Nimbus, 9, 17, 18, 31, 39, 41, 42, 


44, 48, 50, 51, 55, 56, 57 






** Cruciform, 


. 9, 42, 48 






*♦ Triangular, . 


58, 62 






*' Square, . 


57 






Ox, ... . 


46, 47 






Passion, . 


12, 28, 30 






♦♦ Cock, 


12 






*' Chalice, 


12 






•• Crown of Thorns, . 


12, 156 






'♦ Dice, 


12 






*' Hammer, 


12 






" Ladder, . 


12 






♦' Lantern, 


12 






Nails, . 


12 






Pillar, 


12 






*• Pincers, 


12 






*♦ Pitcher, 


12 






" Purse, . 


12 






*' Reed and Sponge, 


12 






" Scourge, 


12 






*' Seamless Robe, 


12 



Symbolism of C 



1, 10 



INDEX. 

PAGE. 

12 

11, 12 

12 

12 

9 

10, 11, 14, 25, 26, 28, 33, 184 

10, 18, 29, 39, 47 

54, 65 

. 53,54 

If, 12,15,19,25, 39,42, 43, 

44, 45, 46, 47, 48, 50, 51, 55, 61, 137 

8, 11, 12, 19, 39, 137 

15 

. 53, 55 

51 

54 

11, 52, 53, 55 

52, 53, 170 

. 39, 52, 53 

36, 39, 49, 57, 169, 170 

27 

7, 10, 14, 39, 63, 89, 223, 233 

66,68,69,72,73,80,81,87 

( 65, 66, 67, 71, 73, 74, 76, 80, 81 

I 83, 86, 88,-166, 186, 195, 227 

.80 

. 80,82 

6U, 70 

Gold, 66, 68, 73, 74, 76, 80, 81, 83, 86, 88, 166, 186, 

193, 195 

66,72 

65, 66, 67, 69, 72, 73, 80, 81, 87, 186 

71 

71 

80,82 

65 

65 

80 

, 70, 71, 74, 76, 80, 81, 83, 86, 88, 

166, 186, 193, 195, 227 

65, 66, 67, 68, 69, 70, 73, 74, 76, 

80, 81, 83, 89, 166, 186, 227 

65 
70 
66 
65, 69, 70, 86, 88, 193, 195 
66 
80 
66, 67, 68, 71, 73, 76, 81, 186, 193 



Symbolism of Form, Passion, Spear, . 

" Sword, 

«♦ Thirty Pieces of Silver, 

*♦ Towel, 
Pelican, 

Sacred Monogram, 
Shepherd, Good 
Shield, 
Star, 

Super Symbol, 

Supreme Symbol, 
Terrestrial, 
Three Rings, 
Tongues of Fire, 
Tre-Foil, 
Triangle, 

Triangle Equilateral, 
Trine Compass, 
Vesica Pisces, 
X. P. C. 
'olor. 

Black, 

Blue, 

Brown, 

Cheney, 

Crimson, 



Gray, 

Green, . 

Indicus, 

Indus, 

Murrey, 

Pale Blue, 

Pale Green, . 

Pink, 

Purple," 65, 67, 68, 

Red, 

Rose Color, . 

Rose Purple, 

Saffron, 

Scarlet, 

Silver, 

Tawney, 

Violet,; 









INDEX. 


Symbolism 


of Color,White, 


■■ \ 


(( 


(( 


Yellow, 


Symbolism 


of Numbers, 
One, 




(t 


a 


Two, 




(( 


i( 


Three, 


. 


(( 


(( 


Four, 




(( 


(( 


Five, 


. 


(( 


(( 


Six, 




(( 


(( 


Seven, 


. 






Eight, 
Nine, 




(( 


(( 


Ten, 




<( 


{( 


Eleven, 


. 


(( 


(( 


Twelve, 




(( 


(( 


Thirteen, 


. 


(( 


(( 


Fourteen, 








Forty, 
Fifty, 
Seventy, 
Three Hundred, 


Symbolism 


of Language, 
*' Amen, 




(t 


(( 


Creed, 




{( 


<( 


Holy Mysteries, 



PAGE. 

65, 66, 67, 68, 69, 73, 74, 76, 80, 
81,83, 86, 88,89, 166,186 

65, 67, 69, 72, 73, 83 

7, 10, 14, 39, 90-111, 137 

. 94, 95, 96 

94, 95, 96 

94, 95, 96, 97, 98, 99, 100, 104, 

109,111, 137,157, 166 

94, 95, 98, 104 
87, 94, 95, 99, 100, 101, 102, 103, 
104, 109, 111, 157, 166 

94, 95, 104 

91,92, 95,104,105,106, 109 

95, 106, 107, 109, 111 

95, 107 
95, 107, 108 

95,108 

91, 95, 108, 109 

109 

95 

. * .91, 92, 108, 109 

96, 109 
91,92 

96 
7, 10, 14, 39, 112-118, 137 
116, 117 
113, 114, 115, 137 
117,118 
Names, Titles and Offices of Christ, . . 115 

" ♦' Symbolism, .... 114 

Symbolism of Action, 7, 10, 14, 39, 98, 119, 129, 130, 134, 137 

Blessing, . . . 120, 134, 135, 137 

'* " Bowing towards the Altar, . . 129, 182 

" " Bowing to the East, ... 129 

" " Bowing at the Name of Jesus, 119, 127, 128, 129 

" '♦ Crossing, ..... 126, 127 

Kneeling, . . 119, 120, 121, 122, 123, 124 



Tabernacle, 

Table of Colours — Sarum Use, 

Tahpanhes, 

Tarsus, Cloth of. 

Tarsus Colour, - 

Tau, - - - - 

Temple, - - - 

Tertullian, 

Testament, New, 

Testament, Old, 

Theocratic Era, - 



Signing with the Cross, 
Standing, 



119, 125, 126, 127 
119, 124 

- 32, 193 

88, 89 

- 219, 221 

70 

68 

21, 35 

32, 77, 195, 204, 211 

9, 48 

- 16, 40, 47, 48 

- 16, 20, 40, 47, 48 

64 



INDEX. 

PAGE. 

Theophilus, Bishop of Antioch, ----- 15 

Thompson, Edward Maunde, ------ 27 

Trinity, . . .15, 16, 39, 44, 52, 53, 54, 55, 73, 97, 156, 157, 170 



'( 


First Person of, 


14, 15, 16, 39, 52 


(( 


Second Person of, 


. 14, 19, 39, 40, 44, 45, 47, 48, 52, 58 


(( 


Third Person of, . 


16,39,50,51 


Twining, L., . 


10,18,25,42,44 


Tjpe, . 


. 


1, 8, 9, 10, 11 


Uncials 


Greek, . 


27 


Union, 


Jack, . . . . 


23 


Use, 

Valens. . . • . 


. 


83. 

2, 

2 


Valentinian, 




( 13, 82, 148, 151, 152, 155, 156, 157, 159, 161, 


Vestmenis, . . . -j -.go 


168, 171, 172, 184, 217, 223, 228, 230, 233 


(C 


Anabologion, 


158 


<( 


Apparels, 


. 156, 158, 159, 160 


t( 


Baptismal Stoles, . 


164, 165 


(< 


Birretta, 


185 


(( 


Cassock, 


179 


(< 


Chimere, 


178 


(< 


Cope, . . 35 


, 68, 152, 155, 179, 180, 181, 182, 183, 184 


(( 


Cotta, . 


177 


(( 


Epomis, 


... 158 


(( 


Eucharistic, 


155,156,157,174 
. 151, 156, 157, 158, 159 


(( 


" Amice, 




Alb, 


{ 150, 151, 2o2, 155, 156, 157, 
} 159, 160, 161, 177, 212, 227 




(( 


'♦ Girdle, 


. 151, 157, 160, 161, 167 


( ( 


Stole, 


( 32, 151, 155, 157, 162, 163, 
( 164, 165, 166, 167, 211 








( 32, 33, 34, 35, 36, 37, 38, 151, 


(( 


Chasuble, 


i 152, 155, 157, 158, 159, 166, 
( 167, 168, 169, 170, 171, 172, 228 


(( 


'• Maniple, 


. 151, 157, 173, 174 


(( 


•' Dalmatic, 


156, 157, 174, 175, 176 


(< 


" Tunie, 


148, 149, 150, 157, 174 


(( 


Tunicle, 


152,175,176,177 


C( 


Flower, 


170,171 


({ 


Massahakele, 


168 


«' 


Mitre, . 


184 


(< 


Morse, 


-183 


(( 


Orarium, 


162, 163, 167 


(( 


Pall, 


179 


(( 


Pallium, 


32, 33, 148, 149, 150, 151, 179 


(t 


Penula, 


168 


(( 


Phanon, . 


151 


(( 


Phelone, 


168 


<( 


Planeta, . 


168,169 


{( 


Preaching Stoles, . 


164, 165 



INDEX. 



Vestments, Rational, 

" Roc. 

'♦ Rochet, 

'* Sacrificial Stole, 

'* Subtile, 

'* Sudarium, 

" Super-humale, 

'* Super-humerale, 

♦' Surplice, 

Toga, 
Walcott, M. E. C, 
Western and Eastern Empire, 
Whitsuntide, 
Womanly Art, 
Youth, 
Zechariah, 
Zedekiah, 



172 

176 

152, 175, 178 

. 163, 164 

176 

151, 173 

158 

157 

33, 152, 177 

149 

24 

2 

51 

14,32 

50 

45 

219 



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